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Full text of "New and improved method for the guitar"

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Digitized by the Internet Archive 

in 2013 



http://archive.org/details/newimprovedmethOOcarc 



NEW AND IMPROVED 



METHOD 



FOB THJi 







HI. CARCASS* 



BOSTON: 



Oliver Ditson & Company. 



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New York: C. H DITSON & CO. Chicago: LYON & HEALY. 



Phila.: J. E. DITSON & CO. 



tortred according to Act of Congress In the ye»r 1833, by Oliveir Dltsow & Oo ., in the Clerk's Office of the District Court ef the Cinti int of MaseacbusftMk 



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1DVERTISEMEXT. 



The present edition of Carcassi's celebrated Instructions for the 
Guitar, embraces much valuable matter not contained in those previously 
issued. These additions are those which have been made by the distin- 
guished Author, after an experience which enabled him to determine 
what was actually needed by the pupil for a thorough understanding of 
the art. 

The whole has been carefully translated by a well-known Professor 
of the Guitar, and is thereby rendered as free as possible from those 
slight but perplexing inaccuracies which sometimes become a part of 
translations and reprints. 

A number of popular songs in each of the different keys have been 
appended, which together with the masterly instructions of Carcassi and 
his plain yet comprehensive course of Exercises, furnish all that in 
desirable to both teacher and scholar 



AUTHOR'S PREFACE 



AVERTISSEMENT DE L'AUTEUR. 



The flattering reception given to my works by Professors 
• id distinguished Amateurs, up to this period, and a long expe- 
r ;nce in leaching the Guitar, having furnished me much useful 
u formation, I am induced to bring this Method before the 
Pibiic. 

I do not pretend to produce a scientific work, but one that 
<v .11 facilitate the study, and give a thorough knowledge of the 
Ii strument, in a concise and simple manner. 

I have taken great care to make each lesson so progressive, 
that the pupil, however ignorant of the Instrument, will be in- 
terested from the commencement to the end of his studies, 
■voiding those dry difficulties which too often tend to discourage 
beginners. 

Besides the fingering of the left hand, of whicb I have treated 
extensively, the exact management of the right hand, has always 
appeared to me one of the most essential means of acquiring a 
■ure and brilliant execution. I have indicated the fingering of 
this Hand as far as Part Second, alter which the pupil will have 
acquired sufficient knowledge to apply the proper fingering. 

The Third Part is a series of Recreations, which will be found 
useful, containing pieces of various characters, classed progres- 
sively. 

In conclusion I would remark, that from the success attending 
fhe application of this Method amongst my own pupils, I can 
five assuianee that any intelligent person who will study it 
vith attention from beginning to end, will acquire a perfect 
knowledge of the GUITAR. 

I shall consider myself fully compensated for my long and 
tssnluous labour, if I can be assured that 1 have produced a 
work which will pr'we useful t^ the Teacher and Pupil. 



En composant cette Methode, je n'ai pas eu Pin tent ion d« 
faire un ouvrage scientifique ; j'ai voulu seulement rendie pirj 
facile Petude de la Guitare, en adoptant un plan, qui puisse d« 
la maniere la plus claire, la plus simple et la plus precise, donner 
une connaissance approfondie de toutes les ressources de cet in- 
strument. 

L'accueil flatteur que les artistes, et les amateurs distingues, 
ont bien voulu faire jusqu'a ce jour a mes ouvrages, m'a decide 
a publier celui-ci. 

Une longue experience, acquise dans la carriere de I'enseigne- 
ment, m'ayant fourni des observations utiles, j'ai cru devoir les 
consigner par ecrit. J'ai apporte le plus grand soin a preparer 
progressivement chaque legon, afin qu'un eleve, qui n'aurait 
aucune notion de l'instrument, puisse jouer depuis la premiere 
etude jusqu'a la derniere, sans rencontrer de ces difficultes arides, 
qui trop souvent ne servent qu'a le decourager. 

Independamment du doigte de la main gauche, que j'ai traite 
avec beaucoup de developpement, le mecanisme de la main 
droite, m'a toujours paru une des choses essentielles pour par- 
venir a acquerir un jeu sur et brillant. 

J'ai indique le doigte de cette main jusqu'a ladeuxieme partie. 
article position : une fois arrive a ce point, l'eleve aura acquis 
assez de connaissances pour pouvoir doigter de lui meme. 

La troisieme partie n'est qu'un delassement qui, cependant, 
n'est pas sans utilite ; elle renferme des morceaux de diflerens 
caracteres, classes progressivement. 

Je puis assurer, par 1'application que j'en ai faite avec mea 
eleres, que toute personne intelligente qui etudiera cette methode 
avec attention, depuis le commencement jusqu'a la fin, acquerra 
une connaissance parfaite du mecanisme de la Guitare. 

Je me croirai dignement recompense de mes travaux, si je 
puis acquerir la certitude d'avoir compose un ouvrage utile. 

MATTEO CARCASS! 



Each line represents one of the 
strings of the Guitar. 

Chaque Portee represente une des Cordes 
de la tiuitare. 



Each line represents one of the strings 
of the Guitar. 

• Chaque Portee repiesente une des Cordes de la 
Guitare. 



Si a> 

? 3- 




ELEMENTARY PRINCIPLES OF MUSIC. 

PRINCIPES ELEMENTA1RES DE LA MUSIQUE. 



M.ik ii the art of combining and expressing sounds. A 
■ceo Miion of various agreeable sounds produces Melody. 

Sounds so combined that they are heard simultaneously pro- 
duce Harmony. 

To express sounds, signs called Notes are used ; they are 
written on five parallel lines, and in the spaces between the 
lines. 

These five lines and four spaces are called the Staff. 

As the StafT is not of sufficient extension to express ail the 
sound? in Music, additional or Leger lines are introduced, 
abov« and below the Staff, when required. 



La Musiqrie est Part de combiner les sons, et de les exprime 
La succession de divers sons, combines d'une maniere agreablt 
produit la melodie ; les sons combines, de maniere a ce que 
I'oreille entende leur union simultanee, forment Pharmonie. 

Pour exprimer les sons, on se sert de petites signes appellee 
Notes ; on les ecrit sur cinq lignes horizontals et paralleles, el 
dans les interlignes. 

L'ensemble de ces cinq lignes se nomme Portee. Corame 
ces cinq lignes, ou Portee, ne suffisent pas a Petendue de b 
Musique, on en ajoute des petites, au dessus at au dessous de U 
Portee, que l'on nomme lignes additionelles. 



fa 

rv 5th Ii 

r* 3d - 
E- 24 - 
r> lat - 







Notes on the Lines. 




Notes sur les lignes. 


- 








— 




m i 








m i ! 






m 


• 1 



5lh licmca 
4ih - - 
3d - - 
2d - - 
lat - - 



H 
(A 

"O 



Notes in the Spaces. 
Notes dans les interlignes. 



4lh apace' 
3d - - 
2d - - 
lat - - 





— 


4 lb iaierligae. 




J p 1 


3d 




• 1 


2d 


# 


1 


.1st - > 



Leger lines above the Staff. 

Notes avec les lignes additionnelles an dessus de la Portee. 



£ 



£- 



s. 



m 



Leger lines below the Stave. 

Notes avec les lignes additionnelles au dessous de la Portee. 



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I 



Of the Notes. 

Music is composed cf seven notes, which ara named after the 
first seven letters of the alphabet ; a, b, c, d, e, f, o ; by re- 
peating the first note, C, a scale of eight notes is formed, called 
* Gamut. 

Gamut of C Natural. 
Ci D B F 



Des Notes. 

La Musique est composee de sept notes que l'on nomme cr, 
re, mi, fa, sol, la, si, et repetant ut al'octave haute, on formerr 
la succession de huit notes, que l'on appelle Gamme. 



Gamhe Naturfxlx out. 
G a B 



C 



Re 



Wi 



il 



Fa 



Of the Clefs. 

The Clef is a sign placed at the commencement of the Staff 
to determine the name of the notes. There are three sorts of 
Ulefs used in music. The Treble, or G Clei, =2= which is 
placed on the secoud line only, is made use of in ^F composi- 
tions for the Guitar. 



Sol 



La 



Si 



Ut 



Des Clefs. 

La Clef est un signe qui se met au commencement de Jk 
Portee, pour determiner le nom des notes. II y a trois sortei 
de Clefs. La Clef de Sol dh qui se pose sur la seconde ligne, 
seu»> est employee en *yz compositions pour la Guitare. 




Notes on the G Clef. 
F G A B C Li 



E 



j- i^n 



G 



Notes sur la Clef de Sol. 

ABC 
B C D E F G 

gE^g-f-f-^ 



m 



$M 



9 



j* 



Sol 



La Si 



Be 



Mi Fa Sol La Si Ut Be Mi Fa Sol La Si Ut Re Mi Fa Sol 



CAKOASSI'S INSTRUCTIONS FOR THE GUITAR. 



Character and Value of the Notes and Rests. 

There are seven forms ol Notes, each having a different 
i line. By the value of a note, is understood, the duration of 
lound which it represents ; tnis duration is determined by the 
'orm of the note itself. Each of these notes has a Rest or 
i.lence, which corresponds with it in value or duration. 



Figure et Valeur dcs Note* et des Silences 

Les figures des notes sont au nomine no -~yl, ]}V *'»n -e «epi 
valeurs differentes ; on entend par la valeur d'une note, la duree 
que doit avoir le son qu'elle produit ; cette duree est determine 
par la figure de la note meme. Chacune des sept figures do 
notes, a un silence, qui lui correspond en vaieur, c'est-a-dire, d 
la meme duree. 



I 



Semibreve. 
Sonde. 



Semibreve Rebt. 
Pause. 



Which is equal to 2 Minims, 
Une Ronde vaut deux Blanches, 



Silence qni vaut une Ronde. 

Minim Rest. 
Demi Pause. 



1 



or 32 Demisemiquavers, 
ou 82 Triples Croches. 



Qui vaut une Blanche 



or 4 Crotchets, 

ou quatre Noires. 


Crotchet Rest. 
Soupir. 






i* • F P 


>• 




\ 


J__ 1 \ 1 j 1 





Qui vaut une Noire. 











or 8 Quavers, 

ou huit Croches, 








Quaver Rest. 
Demi Soupir. 








■ 




m 


m m 


m 


m 


m 


f 






i 










\ i — ■ 




k 


K J 





Qui vaut une Croche. 















or 16 Semiquavers, 
ou 16 Doubles Croches, 














Semiquaver Rest. 
Quart do Soupir. 








• 


m 


m 


m 


m 


r* * P P P 


m 


m 


m 


m 


m 


m 


m 


















—+— 


S 


* 
























—V s — 


— £ — 1 


Qui vaut une Double Croche. 



Demisemiquaver Rest. 
Demi quart de Soupir. 




Qui vaut une triple Croche. 



Sixty-four Hemidemisemiquavers are equivalent to one Semi- 
ore ve. 

Of the Dot. 

The Dot, placed immediately after a note or rest, increases 
its value one half. Thus, a dotted Semibreve is equal to three 
minims, a dotted minim is equal to three crotchets, a dotted 
crotchet to three quavers, a dotted quaver to three semiquavers, 
fcc. 

When a second dot is added, its value is equal to half that 
of ihe first. 



Les quadruples Croches sont barrees quatre fois, il en faui 
soixante quatre pour une Ronde. 

I) u Point. 

Le point plaoee immediatement apres une note, ou un 
silence, augmente de moitie sa valeur ; ainsi, la ronde pointee 
vaut trois blanches, la blanche pointee, trois noires, la noiw 
pointee, trois croches, la croche pointee, trois doubles croches 
&c. 

II arrive quelquefois qu'on met deux points a la suite d'mx 
note ; le second point alors, augmente de moitie la valeur dt 
premier. 



Dstted Semibreve 
Ronde pointee. 



IZZSC 



js: 



i 



Dotted Minim. 
Blanche pointee. 



Dotted Crotchet. 
Noire pointee. 



Dotted Quaver. 
Croche pointee. 



Dotted Semiquaver. 
Double Croche pointia. 



^--^ 



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s 



"ST— 



E£ 



t-^: 



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» 



t 



1 BARB REST 



I > I [/ £ Bnton (1 



H> 2 Pauses 



3 BARS REST. 



3 Pauses. 



Dotted Demisemiquaver 
Triple Croche pointed 

s 



Dotted Rests. 
Silences points 



t 



4 BARS REST. 



1 Pause*. 



I 



IHIII 



: I 



- * 



tf 



oaRoassts instructions for the guitar 



Of Time. 

I'imh if Hi* invisjoii ot any piece of Music into parts of equal 
juration. There arc truee principal measures ; the measure of 
four beats of three beats, and of two beats in a bar ; all the 
ithers are derived from these three, and are called Compound 
Measures. 

The Measure, or Time, is marked at the commencement of 
every piece of Music by signs or by numbers, indicating the 
subdivisions of the measure. The Staff is divided by vertical 
mes into separate parts, called Bars of measure. 

Examples of different measures, the manner in which they 
are marked at tb° L/eginning of each piece of music, and the 
method of beating time. 

\ 

Common Time, or 4 beats A 

in a bar, is marked by a -0-, * 
md is beaten thus, 

Triple Time, or 3 beats 
\. j bar, is marked |, and is 
oeaten thus, 

Two-four Time, or 2 

oeats in a bar, is marked |, 
»nd is beaten thus, 

Twelve-eight Time, derived from Com- ^^ 
oion Time, is marked ^ z , and is beaten in ~^^~ \ 
bur divisions. 

Nine-eight Time is derived from Triple 
Time, is marked g, and is beaten in three - -^ — P-j* 
divisions. 

Six-eight Time, is derived from Two-four 
Time, is marked %, and is beaten in two divi- 
de ns. 




He la Mesure. 

La Mesure c'est le partage en portions d'ur.e egal* .ai«-» cu 

tout morceau de musi(pie. 

llya trois mesures principales ; la mesure a quaue teinr, la 
mesure a trois terns, et la mesure a deux terns ; toutes les autrtM 
sont derivees de ces trois premieres, et se nornment mesiiree 
composees. 

La mesure se marque an commencement de chaque morceau 
par des signes, ou par des chiffres qui indiquent de coinbien us 
tems elle est composee. Les mesures se separent par des barrea 
verticales, appellees barres de mesure. 

Exemples de differentes mesures, comme elles sont indiqueea 
au commencement de chaque morceau, et maniere de le; 
battre, 

Mesure a 4 tems ; elle se 
marque par un -0, et se bat 
ainsi, 



Mesure a 3 tems appellee 
trois quatre ; elle se marque 
par un £, et se bat ainsi, 

Mesure a 2 tems appellee 
deux quatre ; elle se marque 
par un |, et se bat ainsi, 




a 

I 




Mesure a douze huit, derivee dela mesme 
a quatre tems ; elle se marque par un l 8 2 , ^t 
se bat a quatre tems. 

Mesure a neuf huit, derivee ae ia mesure 
a trois tems ; elle se marque par un g, et se 
bat a trois tems. 



Mesure a six huit, derivee de la mesure a deux 
tems ; elle se marque par un $, et se bat a deux 
tems. 



A Bar of two beats, called " alla breve," and - j—^ < ~^ Mesure a deux tems, appellee "alla breve," 

uiaiked by a ^ or 2, is beaten in two divisions, -l- "C - ° T ~ ~ W~(*' f* I T e " e se marque par un Q ° ,J 2, elle se bat a deux 
ml is the same value as common ijme. ^ tems, et se compose des memes valeurs que .8 

mesure a 4 tems. 



Three-eight Time, is marked 8,and is beaten 
tr. tr.ree divisions. 



Of the Triplet. 

The Triplet is a group of three notes, over 
v hiih the figure 3 is placed ; these three notes 
ire )k}"ed in the time of two of the same denom- 
j at ion. 

W hen the figure 6 is placed over a group of 
rx lotes, it indicates that these six notes have 
wit the value ">f four. 




Triplet. Value. 
Triolet Meme valeur. 




Mesure a trois huit, elle se marque par un j*. 
et se bat a trois tems. 

Du Triolet. 

Le Triolet est une groupe de trois note* in 
dique par le chiffre 3 dont il est surmonte , .a« 
trois notes doivent etre faites pour la va.eui de 
deux. 

Lorsque six notes sont surmontee? d un fi 
elles n'ont la valeur que de quatre. 



Sextuple 
Sixaine. 



Value. 
Meme valeur 



OARCASSI'S INSTRUCTIONS FOR THE GUITAR. 



Of the Legato or Slur, the Tie and Syncopation. 

These three terms are indicated by a curved line, connecting 
nveral notes together. 



Slurred Notes By this we under- 
stand seveial notes formed ip succession 
by a single vibration 

Tied Notes. The Tie indicates that 
the notes should be held out through their 
whole value, as far as the sign extends. 

Syncopated Notes. Syncopation is 
the binding of the unaccented part of 
a measure with the accented part of 
the measure following, so that it ah 
forms one note. 



Dn Coull, de la Liaison et de la Syncope. 

Ces trois ^nominations se marquetu par ur» ..-u»t rewuutui 
qui lie plusieurs notes ensemble 



m 



ES 



£ 



i 




I 



Notes Coolies. On entend parcoul* 
plusieurs notes faites successivement pa 
une seule vibration. 

Notes Llees. La Liaison indiqu 
qu'il faut tenir les notes de toute lent 
valeur pendant la duree du signe. 

Notes Syncopees. On entend pai 
syncope une note qui se partage egal* 
ment entre la partie faible d'un terns • 
la partie forte du terns suivant. 



Of the Sharp, Flat and Natural. 

The Sharp (#) is a sign which raises a note a .semitone. 
The Flat (b.) lowers it a semitone ; and the Natural (^) restores 
a note, altered by a sharp or flat, to its original sound. 

A sharp or flat placed before a note, is called an Accidental, 
and acts only in the bar in which it occurs. 

When these signs are placed at the commencement of a piece 
of music, namely, at the Clef, to point out its tone, all the notes 
which are on the same line or space, on which these signs are 
placed, are affected by them. 

There are as many sharps and flats as there are notes ; the 
•harps are placed, beginning with F, by fifths ascending and by 
fourths descending. 

The flats are placed, beginning with B, by fourths ascending 
and by fifths descending. 



F C 

Fa Ut 



it 



G 

Sol 



D A 
Re La 



E 
Mi 



B 

Si 



3£ 



* 



Dn Dieze, dn Beuiol et dn Becarre. 

Le Dieze (#) est un signs qui hausse d'un demi-ton l'intonalion 
de la note. Le Bemol (b) la baisse d'un demi-ton, et le Becarre 
(^) remet dans son ton primitif la note alteree par le Dieze om 
le Bemol. 

Le Dieze ou le Bemol, pose a cote d'une note, se nomine 
accidental, et n'agite que dans la mesure ou il est place. 

Mais lorsqu'il est place au commencement des morceaux de 
musique (ce qu'on appelle a la Clef) pour en designer le ton 
alors toutes les notes qui portent le meme nom que le degre ou 
sont pose ces signes, en prennent le caractere. 

II y a autant de Diezes et de Bemols que de notes ; les Diezes 
se posent (en commengant par le Fa) par quinte en montant ou 
par quarte en descendant; les Bemols se posent (en commeng- 
ant par le Si) par quarte en montant ou par quinte en descendant 



B 

Si 



E 
Mi 



A 

La 



D 
Re 



G 

Sol 



C 

Ut 



F 

Fa 



-Jr 



-#- 



1st Sharp, 2d Sd 4th 5th 6th 7th 
ler Dieze, 



I 



1st Flat 2d 
ler Bemol, 



3d 4th 5th 6th 7th 



The double sharp (x) raises the note one tone, and the double 
Fla* (bb_) lowers it one tone. 

Of the Intervals. 

The distance between two sounds is called an Intel vdl. 



R X AMPLE. 

Exemj/le. 



Unison. 
Unisson. 



Second. 
Seconde. 



Third. 

Tierce. 



1 



1 



II y a aussi le double Dieze (x) qui Hausse la note d'un ton 
et le double Bemol (hb) qui la baisse d'uu ton. 

Des Intcrvallcs. 

On appelle intervalle la distance qu'U y a d'un son a un auiro 



Fourth. 
Quarte. 



Fifth. 
Quinte. 



Sixth. 
Sixte. 



Sn»oiith. 
Septipme. 



Octave. 
Octave 



i=^^^^^Bl^^fl 



Of the Tone and Mode or Key. 

The principal note on which a musical composition is 
••taMished is called the Key-note, or Tonic. Any note can 
becom* the Tonic or first note of the Scale 



Dn Ton et dn Mode. 

La principale note sur laquelle un morceau de musique est 
?tabli, est appellee la note du Ton, ou Toniqne. Toutes lei 
notes peuvent etre Ton iques • c'est-a-dire, premiere n«»i« i'uiM 
eamrnp 



^ ARC ASS I'S INSTRUCTIONS FOR THE UlilTAK 



The modes* are the chaiacier of the Key ; they are cf two 
lm>& , iho Major mode, wnose third is major, or composed of 
.wo full tones, and the Minor mode, whose third is minor, or 
"onr. posed of a tone and a semitone. 



Le mode est la caraetere dn ton ; il y en a deux espeees- . ?• 
Mode majeur dont la tierce est majeure, c'esr=a-dire compvjt** 
de deux tons pleins ; et le Mode mineur lont la tierce *»* 
mineure, c'est-a-dire composee d'un ton et d'un demi-tone. 



Major Third. 
Tierce Majeur. • 



— Tone. 



~ZS2i 



Ton. 



-Tone.-, 
-Ton. — 



^t 



Minor Third.- 
Tierce Mineur. ? 



is: 



-Tone.-— — Semitone* — 3^- 



-T«n. Dim:- t«>n 



If 



Of the Scales or Ganits. 

There are two kinds of Scales, the Diatonic and the Ghro- 
natic. The Scale is Diatonic when the five whole tones and 
two semitones ; which compose it, succeed each other regularly 
arid in the natural order, whether ascending or descending. It 
is Chromatic when the five whole tones of the Diatonic Scale 
are divided into semitones, so as to form twelve of these in the 
compass of the octave. 

In the Diatonic Scale, the two semitones are found between 
the third and fourth, and the seventh and eighth degrees, in the 
major mode ; and between the second and third, and the 
seventh and eighth, in the minor. 

Scale of C Major, with the tones and semitones which 
•jompose it. 

This scale may serve as a model for all the other major 
scales. 



Dcs (.amnios. 

II y a deux sortes de Gammes ; ia Diatonique et la Chrcma- 
tique. La gamme est diatonique lorsque les cinq tons et lei 
deux demi-tons qui la composent s'enchainent regulierement, 
tant en montant qu'en descendant, dans l'ordre naturel. Elle 
est chromatique lorsque les cinq tons de la gamme diatonique 
sont divises en demi-tonsce qui en formeradouze dans Petendw 
de 1 'octave 

Dans la gamme diatonique, ies deux demi-tons, se trouverr 
du 3e. au 4e. degre, et du 7e. an 8e. dans les tons majeurs ; f 
du 2e. au 3e. degre, et du 7e. au 8e. dans les tons mineurs. 

Gamme d'Ut Majeur, avec les tons et les demi-tons qui li 
composent. 

Cette gamme doit servir de modele pour toutes les au'res 
dans le mode majeur. 



*s^ Scale Ascending. 
j2 Gamme Montante. 

fc MUOR THIRD. 
Tierce Majeur. 

$ -6 1 2 3 

Sbto C D E 

;flUt Re Mi 



4 
F 

Fa 



5 
6 

Sol 



6 
A 
La 



7 
B 

Si 



8 
C 
Ut 



1 



Scale Descending. 
Gamme Descendante. 

8 7 6 

C B A 

Ut Si La 



5 4 S 2 1 

G F E E C 

Sol Fa Mi Re Ut 



If 



-&- 



-&- 



~ZZL 



■:&- 



-&- 



I22_ 



-<S>- 



Whole Tone. Whole Tone.Half Tone. Whole Tone.Whole T. Whole T. Half Tone. 
Ton. Ton. Demi Ton. Ton. Ton. Ton. Demi Ton. 



Half Tone Whole T. Whole T. Whole T. HalMrT Whole T. Whole" r?" 
Demi Ton. Ton. Ton. Ton. Demi Ton. Ton Ton. 



Scale of A Minor, with the tones and semitones which 
mpose it. 

This scale will serve as a model for all the other minor 
•rales. 



Gamme de La Mineur, avec les tons et les demi-tons qui !a 
composent. 

Cette gamme servira de modele pour toutes les autres dans U 
mode mineur. 






Scale Ascending. 
Gamme Montante. 



MINOR THIRD. i 

Tierce Mineur. I 

s . : 2 j 4 5 

«*'* A H C I D E 

I 5 ! La Si Ut I Re Mi 



221 



-&- 



~Z2Z 



-&- 



^21 



The 6th and 7th note 
are always raised half a 
ccie jn the minor scsiea 



6 
FIS 
Fa 



■# 



7 

GIS 
Sol 



De«cending Scale. 
c amme Descendante. 
in descending the 7th and 6th are restored to their original pi ten. 
8 8 7 6S 43 21 

A AGFEDC HA 

La La Sol Fa Mi Re Ut Si La 

Ma 



I 






-&- 



it 



Whole Tone. Half Tone. Whole T. 
Ton. Demi Ton. Ton. 



Whole T Whole T. Whole T. Half Tone. 
Ton Ton. Ton. Demi Ton. 

ILa 6e. et Te, note sont I 
toujourt alteree dans les 
tons mineurs. 



Whole T. Whole T. Half T. Whole T. Whole T. Half T. Whole T. 
Ton. Ton. Demi Ton. Ton. Ton. Demi Ton. Ton 

En descendant on supprime I'alteration de la 7me et 6xta 



The Key of a piece of music is indicated by the number of i Le ton d'un morceau de musique se designe par le nc mbke at 
Sharp? or Flats which are *"«"ud at the Clef. Each Major key, Diezes ou de Bemojs qui se trouvent a la Clef. CUaque ton 
* lic.h I al( call the pr.j ' k*v has its relative Minor key. I majeur, que j'appellerai ton principal, a un ton mineur qii' hi/ 

1 est relatif, 



CABCASSI'S INSTRUCTIONS FOR THE GUITAK 



51 



It is cfllfod relative, because it is marked at the Clef by the 
«wnae number of Sharps or Flats as its principal key ; except 
the key of C major, and its relative A minor, which have no 
signature. 

The relative key is a minor third below its principal key, as 
ihe following table shows. 



On le nomme relatif parcequ'il est indique a la Clef pai le 
meme nombre d'accidents que son ton principal ; excepte le ton 
d'Ut majeur, et de La mineur, son relatif, ou il n'y a riea a la 
Cicf 

Le toi. r elatif se trouve une tierce mineur au dessous de son 
ton principal ; voyez le tableau suivant. 



C Major Mode. G Major. D Major. A Major. 

Ut Mode Majeur. Sol Majeur. Be Majeur. La Majeur. 



*?5~ 



itn 



# 



& 



-Q- 



-Jt- 



#r#; 



* 



E Major. B Major. Fit Major. Cti Major. 

Mi Majeur. Si Majeur. Fajt Majeur. TJtijk Majet 



-#- 



#7*: 



*=* 



*: 



-&- 



M 



r 



:*: 



-tt 



-t=?: 



32: 



A Minor Mode. E Minor. B Minor. F$ Minor. C|f Minor. 

Le Mode Mineur. Mi Mineur. Si Mineur. Fajf Mineur. Utfl Mineur. 



i 



22. 



t" 



-©- 



* 



f; 



-<s>- 



^: 



g* 



# 



-* 



£±22: 



'•n — 



Gti Minor. 
Soltt Mineur, 



Dfi Minor. 
Reft Mineur. 



*= 



:#- 



3fc 



*£&£=*£=&&& 



Att Minor. 
La£ Mineur. 



:#: 



* 



^"i2^ 



F Major Mode. BJ2 Major. EJ2 Major. A]2 Major. 

Fa Mode Majeur Si|2 Majeur. Mi|2 Majeur. La|2 Majeur. 



-&- 



::§: 



*±: 



~g7~ 



fcF 



^b 



22. 



b:b=i 



Db Major. GjZ Major. 

R<j2 Majeur. SolJ2 Majeur. 



b 



P-b q : 



*£ 



CJ2 Major. 
Uif» Majear. 



kfe 



±fe: 



32: 



il 



D Minor Mode. G Minor. 

Re Mode Mineur. Sol Mineur. 

- h 



C Minor. 
Ut Mineur. 



F Minor. 
Fa Mineur. 



b- 



-&- 



fe fc 



T^b 



kfei 



T^b 



B|2 Minor. 
S1J2 Mineur. 



^±ZE ^ 



^ 



Efe Minor. 
Mi|? Mineur. 



A|2 Minor. 
LaJ2 Mineur. 



*:b 



-G>- 



th 



^rfc 



±JE 



22: 



l\ 



To shorten the study of the foregoing tables, and to know in 
which key a piece of music is, it is necessary to know that 
when there are no flats or sharps at the Clef, it is in C major or 
A minor ; with the #, the major key is one semitone above the 
last sharp placed at the Clef; and the minor key two semitones 
below it ; with the h, the major key is five semitones below 
the last b_ in the signature, and the minor key four semitones 
above. 

To know whether we are in the principal key of the major 
mode, or in its relative minor, it is necessary to examine whether 
the fifth of the major key is accidentally altered by a sharp or 
natural ; if not, we are in the principal major key ; if it is 
altered, we are in the relative minor. 

Of Abbreviations. 

To abbreviate is to represent several notes by a single one, 
•c by a single sign. 

„ J J J J umjaJS 



22. 



P 



£ 



Pour abreger l'etude des tableaux precedens. et savoir dan* 
quel ton est un morceau, on remar juera que lorsqu'il n'y a rien 
a la Clef, il est en Ut majeur ou en La mineur ; avec les £ U 
ton majeur est un degre" au dessus du dernier g, pose a la Clef; 
et le ton mineur deux degres au dessous ; avec les h. le ton 
majeur est cinq degres plus bas que le dernier b pose a la Clef, 
et le ton mineur quatre degres plus haut. 

Pour connaitre si Ton est dans le ton principal, mode majeur, 
ou dans son ton relatif, mode mineur, il faut chercher dans les 
premieres mesures du morceau si la quinte du ton majeur est 
alteree accidentellement par un £ ou par un J^ ; si elle ne I'est 
pas, on est dans le ton principal, mode majeur; et si elle est 
alteree, on sera dans le ton relatif mode mineur. 

Dcs Abbreviations. 

Abreger c'est representer plusieurs notes par une seule note 
ou par un seul signe. 



^""T^ ^^^^ C^_l^ 

I I j i I |j i I ; i 



& 






$m 



-**-*■ 



— *•*- 



m 



The Pause t» is placed over notes and rests, and denotes 
A»* th8 performer may stop at pleasure. 






ca 1 



m 



Le Point d'orgue t* se place indhtinctement sur les noiei 
et sur les pauses ; il indique que l'on pert s'arreter a volonte. 






HI 



IO 



CARCASSI'S INSTRUCTIONS FOR THE tsuifAR 



^T.e R»«-fKAT indicates that the part is to be repeated. When 
he dots are before the bar trie previous division u to be 
epeated ; when after the bar, the division loilowmg. 



s^^ 



Da Capo, :r D. C, indicates that the piece is to be played 
again from ine beginning. 

The Sign '£$ indicates that the piece is to be repeated to the 
word Five. 

Signs Indicating the Degree of Power. 

viano or p means sweet, soft, mf half loud. 

pp . , . very soft, sfz . . . suddenly /. 

f .loud. cres. ~ . . increase. 

ff .... very loud. dim.^==— . . decrease. 



Sioneb db Renvois. Indiquent qu'il faut repetsr it morcea* 
de musique du cote ou sont places les pc into. 



^m^m 



Da Capo ou D. C. indique qu'il faut reprendrc au commenc* 
ment. 

Le Renvoi .$>• indique qu'il faut reprendre le moreeao a ce 
signe jusqu'au mot Fin. 

Signes Indiqnant les Nuances. 

Le piano ou p, veut dire douz. mf .... demi fort. 

Les 2 pp . . . tres piano, sfz force. 

\!f fort, cres augmente. 

Les Iff .... tres fort dim . ... dimin nt 



INSTRUCTIONS FOR THE GUITAR. 

METHODE DE GUITARE. 



FIRST PART. 

Manner in which the Gnitar is Strung and Tuned. 

The Guitar has six strings ; the three first of which are Gut, 
and the three others of silk, covered with silver wire. They 
are tuned by Fourths, with exception of the third string, which 
is tuned a Third below the second. 



PREMIERE PARTIE. 

Maniere dont la Gnitare est Montee et Accordee. 

La Guitare est montee avec six cordes, dont les trois premieres 
sont en boyau, et les trois autres, en soie filee d'argent. Toutei 
s'accordent par quarte, a 1 'exception de la 3e., qui s 'accords par 
tierce avec la 2de. 



1st String. 

E 
lie Corde. 

Mi 



2d String. 

2e Corde. 
Si 



3d String. 

Se Corde. 
Sol 



4th String. 

4e Corde. 
Re 



6th String. 

fie Corde. 
La 



6th String. 

6e Corde. 
Mi. 



2Z 



Jl 



-&- 



-&- 



Gtjt Strings. 
De boyau 



Covered Strings.- • ••- 
De soie filee d'argent • • • < 



"or 



Manner of holding the Guitar, and the 

Position of the Hands. 

To hold the Guitar well, it is necessary to sit on a seat a 
little higher than those in common use ; the left foot to rest on 
I stool, of a height proport toned to the seat ; throw out the right 
eg, drawing back the foot a little ; the left leg to preserve its 
natural position ; th« weight of the body of the instrument to 
wit orincipally in the left thigh 



Maniere de s'asseoir pour Tenir la Guitare, 

et Position des Mains* 

Pour bien tenir la Guitare, il faut s'asseoir sur un siege ui. 
peu plus eleve que ceux dont on se sert ordinairement ; poser Is 
pied gauche sur un tabouret d'une hauteur proportionnee a cella 
du siege sur lequel on est assis; ensuite on ecarte la jam be 
droite en reculant un peu le pied ; Ja jambe gauche conserve M 
position natureile ; le poids du corps reposp «n grande parur 
sur la cuisse gauche 






<5 A K(J ASril'g 1NSTFUC1 tUSiS F';K T B li 'i U IT A R 



I i 



Being thus seated, the Guitai is placed Tausverseiy ' n u,v 
!sft thigh, as seen in the a rawing 

This position is preferable to all others, because it offers three 
points of support to the instrument; and balances it so as not to 
require the support of the hands. 

The Left Hand. 

The left hand should lightly press the Neck between the 
thumb and the fore finger ; the end of the thumb should rest 
on the side next to the thick string, between the 1st and 
2nd frets, and the large joint of the fore finger between the 
Nut, the end of the finger board, and the 1st fret, on the side 
:iext to the small string. 

The arm should hang naturally, with the elbow separated 
from the body, taking care to hold the fore arm and wrist 
curved ; the fingers should be separated, and held as hammers 
ready to strike tbn strings between the four first frets. 

The fingers in this position will naturally fall upon the three 
first strings ; when they are required to reach the other three 
.strings, the wrist should be still more curved, and the thumb 
put more under the neck. The thumb is also used sometimes 
to press on the 6th string for particular notes ; when to be tnus 
used, the word thumb will be placed under the notes. 



The Right Hand. 

ht fore arm should rest on the edge, formed by the 
lie sound board, in the direction of the Bridge ; the 
;r should be extended and rest lightly on the sound 
• the first string, and a little distant from the bridge, 
b should be extended and placed on one of the cov- 
;s, the three other fingers a little curved to be held 
it strings. Moving the hand towards the Rosette, 
' the Guitar will be much softened. 



Manner of Touching the Strings. 

ngs are made to vibrate with the Thumb, 1st, 2d, 
ers. The 6th, 5th, and 4th strings, on which are 
t frequently, what are called bass notes, are played 
humb ; the three other strings are played in the 
1 phrases of melody with the 1st and 2d fingers 
changing the finger at each note ; the 3d ringer 
• in Chords and Arpeggios of 4, 5 and 6 notes. 
i a full and mellow tone, it is necessary to apply 
(with the end of the finger, avoiding to touch the 
the nails, the fingers meet the strings obliquely, so 
them to vibrate across the finger board, 
rib of the right hand, in striking th* thick strings, 
ys slide to, and rest upon the string next to the one 
rate, and should not be removed but to strike the 
jxcept in cases where the string on which it has 
i be made to vibrate by another finger immediately 
the thumb ought to strike the string without touch- 
r 









{.ti- fcifc bier; assis de ceitf maniere, on pose la Guitare traus 
icjKuciiiciii aui ia cuissc gauclfc, oumme le demontre la planch* 
precedente ; cette position est preferable a toute autre parce- 
qu'elle offre trois points d'appui a l'instrument, qui se trouveoi 
equilibre sans aue les mains soient obligees de le retenir. 

Main Ganche. 

La main gauche doit presser legerement le manche entre le 
pouce et 1 'index, 1'extremite du pouce doit poser du cote dea 
grosses cordes entre la Ire et la 2me touche, et la grande pha- 
lange de l'index entre le sillet et la Ire touche du cote de la 
chanterelle. On doit laisser tomber nature llement la paitie 
superieure du bras, ecarter le coude du corps en ayant soin de 
tenir l'avant bras et le poignet Un peu arrondis. Les doigt* 
doivent se tenir ecartes, et en forme de marteaux au dessus des 
cordes, prets a se poser sur les quatre premieres touches ; les 
doigts, dans ci-tte position, tombent naturellement sur les trois 
premieres core es ; lorsqu'ils doivent atteindre les trois dernieres, 
il est necessaire d'arrondir davantage le poignet, et de placer le 
pouce plus au dessous du manche. 

On se sert aussi quelquefois du pouce de^ cette main, pom 
doigter quelques notes a la 6me corde, du cote oppose aux autres 
doigts. Les notes qui doivent etre doigtees ainsi sont indiqueeji 
par le mot pouce, que l'on place au dessous des notes meme 

Main Droite. 

L'avant bras droit doit s'appuyer sur le bord lorme pai 
1'eclisse et la table d'harmonie, dans la direction du chevalet. 
Le petit doigt doit un peu s'ecarter, et se poser legerement sui 
la table d'harmonie pres de la chanterelle a peu de distance du 
chevalet. Le pouce se tiendra allonge et en dehors des autres 
doigts, et posera sur une des cordes filees ; les trois autres 
doigts, un peu recourbes, se tiendront au dessus des trois cordes 
de boyau. Lorsqu'on veut adoucir le son de la Guitare, on 
porte la main vers la Rosette. 

Maniere de Pincer les Cordes. 

On se sert de quatre doigts pour pincer les coides de )a Gui- 
tare ; ce sont : le pouce, l'index, le medium et I cJiuulaire. 
Les 6me, 5me et 4me Cordes, sur lesquelles, s'executent le ]>lus 
souvent les notes appelees basses, se pincent du pouce ; les 3 
autres cordes se pincent, dans les Gammes et les phrases d 
melodie, avec l'index et le medium alternativement en change 
ant de doigt a chaque note. 

Le doigt annulaire ne pince que dans les accords et arpegei 
composes d * 4, 5 et 6 notes. 

Pour obtenir un son plein et mcelleux, il faut pincer un peu 
fort, mais sans roideur avec 1'extremite des doigts en evitant le 
contact des ongles contre les cordes, qui doivent etrp pincees 
un peu en biais. Le pouce de la main droite en attaquant ley 
grosses cordes, doit toujours glisser sur la corde a cote de ct.le 
qu'il vient de pincer, et ne doit se relever que pour pincer nne 
autre note, excepte pourtant dans le cas ou la corde sui 
laquelie il tombe serait mise en vibration par un autre; doigl 
dans le meme terns ou lnimediatetnent apres. aloto le poinv d"H 



IX 



(MROASSl'S INSTROCTIONS FOR THE GUITAR. 



In gome cases .t is necessary to p'ay on the 3d and 2d strings 
with the thumb, and on the 4th and 5th strings wun tne 1st 
and 2d fingers. This is the case in chords, arpeggios, &c, and 
n ven in cantabile phrases ; the notes to be played with the 
di limb, are Avritten with a double tail if to be played alone, and 
\ ith the tail turned down, if double. 



attaquer la corde sans en toucher aucur.e autre. II y a un gran 
nombre de cas ou le pouce est oblige de pincer les 3me et 2me 
cordes, et l'index et le medium la 4me et meme la 5me corde , 
ces cas se presentent souvent dans les accords, les arpeges, lei 
passages de tierces, sixtes, octaves et meme d?ns les jyj asei 
chantantes ; les notes qui dans tous ces cas, doivent etre pincee* 
du pouce, sont ecrites avec une double queue si elles frappen. 
seules, et avec la queue tournee par le bas, si les parties sont 
doubles. 



Thumb lit 




Pouce. index, medium, tnd 



lit Anger 2d On. 

index medium 



^ 



1st 
ind. 



2d 
med. 



2d 

med. 



&M=n 



in 

ind. 



i 



HI 

lid. 



lit 
Ind. 



3d 
med. 



td 

med 



2d 
med 



2d 

med. 



I 



•— I" 



if 



f 



r^f 



i-^- 



-&- 



Thumb 
Pone* 



Thumb 
Pouce 



Thumb 
Pouce 



Thumb 
Pouce 



Thumb 
Pouce 



Thumb 
Pouce 



Thumb 

Feces 



r 



Thumb 
Pouce 



Thumb 
Pouce 



Thumb 
Ponce 



Thu 



humb 
Pouce 



Thumb 
Pooee 



T 




Of Tuning the Guitar. 

An A tuning Fork is used in tuning the Guitar, to which the 
5th string, A, is tuned ; then press the finger on the same 
string at the 5th fret of the finger board, which will then give 
D ; to which the 4th string is to be tuned in unison. The 
finger is then to be placed upon the 5th fret of the 4th string, 
which will give O, to which the 3d string is to be tuned in 
unison ; then place the finger upon the 4th fret of the 3d string, 
which will give B, to which the 2d string is to be tuned in 
unison ; place the finger on the 5th fret of the 2d string, which 
will give E, to which the 1st string is to be tuned in unison. 
The 6th string, E, is then to be tuned to the 1st E string, but 
at the distance of two octaves lower. 



Maniere d'Accorder la Gnitare. 

Pour accorder la Guitare on se seti d'un Diapason (petit it 
strument d'acier servant a donner le la a tous les instrument- 
au ton duquel on accorde la 5me corde la ; on pose un doigt 
la 5me case de cette meme corde qui donne alors re", et l'on ac- 
corde la 4me corde a l'unisson de ce iuj ; on pose un doigt a 
5me case de la 4me corde qui donne alors sol, et l'on accord" 
l'unisson la 3me corde ; on pose un doigt a la 4me case d( 
3me corde qui donne alors si, et l'on accorde la 2me cord 
l'unisson avec ce si ; on pose un doigt a la 5me case de la S 
corue qui donne alors hi, et l'on accorde la chanterelle 
l'unisson avec ce hi. La 6me corde etant un hi aussi, s'lcc 
avec la chanterelle, mais a deux octaves d'intervalie. 



EXAMPLE. 



5th String. 
open. 5th fret. 

5me Corde. 
■ vide. 5me. casi 



4th String. 
open. 5th fret. 

4me Cori>e. 
a vide. 5me case. 



EXEMPLE. 



3d String. 
open. 4th fret 

She Corde. 
a vide. 5 me case. 



2d String. 
open. 6th fret. 



2me 
a vide. 



Corde. 
5me case. 



1st String. 

open. 
Ibe Corde. 
a vide. 



6th String. 

open. 
6me Corde. 

a vide. 



w 



-&- 



-&- 



-&r 



A 
La 



D Dnisan. 

Re Umssotu 



-&- 



&- 



G Unison. 
Sol TJnisson. 



B Unison 
Si Unisson. 



E Unison. 
Mi Unisson. 



2 Octnree. 
Double Or-iare.- 



B 
Mi 



OARCASSI'S INSlxlliOliONS FOR THE GUITAR 



13 



After having tuned the Guitar it is well to prove it by sound- 
ing the following octaves 



Apres avoir accorde la Guitare par unissons, «1 eat bon d« 
verifier l'accord en faisant resonner ensemble les octave* «ui 
vantes 



i 



-&- 



+ 



JU 



~sr 



-=r 



^ 



^ 



-&- 



-&- 



a 



The following are the signs used by most authors who have 
written for the Guitar, to indicate the fingering, and which are 
adopted in this work. 

TfiE LEFT HAND. 
If, Open string. 1, First finger. 2, Second finger. 3, Third finger. 

THE RIGHT HAND. 
, First finger. . . Second finger. . . . Third finger, x Thumb. 

The Positions. 

There are as many positions as there are frets on the Finger 
ooard. It is the 1st finger that determines the position in which 
the hand is ; thus, when the 1st finger is placed on the 1st fret, 
the hand is in the 1st position, and so on with the other posi- 
tions. 

GAMUT SHOWING THE NOTES, AND THE EXTENT OF 
THE FIRST POSITION. 

The figures placed over the notes indicate the fingers of the 
left hand, and also the frets on which they are to be placed. 

The open strings are indicated by 0, the 1st finger and 
1st fret by 1, the 2d finger and 2d fret by 2, the 3d finger 
and 3d fret by 3, and the 4th finger and 4th fret by 4. 

The fingers of the right hand are indicated by x for the 
Thumb, . first finger, . . second finger, ... third finger. 



Pom: eviter la multiplicity embarrassante des signes par raj 
port an doigter, on a juge a propos de suivre la methode adopte« 
par la plupart des auteurs pour la Guitare. Par consequent on 
se seivira dans la suite des signes suivans pour le doigter. 

DE LA MAIN GAUCHE. 
0, corde a vide. 1, index. 2, medium. 3, annulaire. 

DE LA MAIN DROITE. 
. index, . . medium, ... annulaire, x pouce. 

Des Positions. 

II y a autant de positions qu'il y a de touches sur le mane tie 
e'est le premier doigt qui determine la position dans laquelle on 
se trouve. Ainsi lorsque le ler doigt sera place a la Ire case ce 
sera a la Ire position ; quand il avancera a la 2me case>on sera 
a la 2me position, et ainsi de suite. 

GAMME ENSEIGNANT LES NOTES, DANS L'ETENDUE DE 
LA Ire POSITION. 

Les chifFres places sur les notes indiquent les doigts de la 
main gauche, et les cases ou touches ou il faut les poser. 

Les cordes a vide sont indiquees par un 0. le ler doigt et li 
Ire case par 1, le 2me doigt et la2me case par 2, le 3me Joi^ji 
et la 3me case par 3, et le 4me doigt et la 4me case par 4, 

Les doigts de la main droite avec lesquels il faut pincer, sont 
indiques par les signes x pouce, . index, . . medium, et . . an- 
nulaire. 



NATURAL POSITION. 



6th String. 
6me Corde. 
I O 1 3 



I 



5th String. 

5me Corde. 

O 2 3 



4th String. 

4me Corde. 

O 2 3 



GAMME NATURELLE. 



3d String. 
3me Corde. 
O 2 



2d String. 
2me Corde. 
O 1 3 



1st String. 
Ire Corde 
O 1 3 



s 



?f 



ri^ 



• 5ih frei. 
5iue Case* 



L& 



■3" 



Exercises in the 1st Position. 



*-* 



Exercises pour apprendre a lire les notes a la Ire Position. 



-*-»- 



^=2 
x 



=#=P= 



^^m 



-wi 



;ii 




^-fi*pi?3 



_J 0-X 



S3 









1 



11 



CAICASSI'S INSTRUCTIONS FOIt THE Gr G I T ii R 



I 



—0- 



w 



XI 



^r- 



m=l 



se^ej 



i 



=3F=J 



X X 



■*-• -3- 



_+ -f .& 



^W=0 



533 



I 



*=^: 



*=+ 



• X 



V x • 



at^t 






m 



i 



St 



^E^ 



-*-«-? 



I 



"3^-J- ^ 



x • 



. -<s»- 

X 



Gamut with Sharps. 



Gamme. Pour apprendre a lire leg notes avec les Diezes. 



6th String. 
6me Corde. 



5th String. 
5me Corde. 



4th String. 
4me Corde. 



3d String. 
Sme Corde. 



2d String 
2me Corde. 



t*f4f*T T f 2 3 



P^PPPP 



iSpXSpzfr* 



:*=#^ 



1st String. 
Ire Corde. n _ 

■#»-f-** 



If 



1234 O 1 2 3 4 



Gamut with Flats. 



Gamme. Pour apprendre a lire les notes avec les Bemols. 



6th String. 
6me Corde. 



5th String. 
5me Corde. 



4th String. 
4me Corde. 



Sd String. 
3me Corde. 



2d String. 
2me Corde. 



ff^i ^hrrr^t^ 



i ^&M ^s^mm^ 



1st String. 
Ire Corde. 



£ 



If 



1 2 3 



234 0123 01234 01234 



4 ^O 1 2 



Exercise with Sharps and Flats 



Exercise pour apprendre a lire les notes arec les Diazes et les Bemols. 



X 




J^ ^J— ^■ z #»4" 



:p=£p: 



ff^ 



■#--* 



-*-•- 



... - V v ^ v ^ . * 



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C ARC A SSI'S INSTRUCTIONS FOR THE G IT IT A 



S3 



Of the Chords. 

The union of two or more notes played simultaneously is 
sa.ed a chord. 

If the chord to be played is composed of three notes, no mat- 
ter on which strings, they are to be played with the thumb, is 
and 2d fingers ; if composed of four notes, the 3d finger must be 
added ; if of five or six notes, the thumb must play the two or 
three lowest notes by sliding from one string to the other, and 
the fingers take the three other strings. 

That all the notes of a chord may sound well, it is necessary 
that the fingers of the left hand should be curved to act as ham- 
mers, be pressed on the strings near the frets, and without af- 
fecting the vibration of the other strings ; the fingers of the 
right hand should be placed against the strings intended to be 
struck, and not to be moved but to put the strings in motion. 

Chords are always divided, or played in Arpeggios ; thus : 
the notes are played one after the other, from the lowest to the 
highest, but sufficiently quick to produce the effect of their 
being struck together. 



lies Accords. 

La reunion de plusieurs notes que Ton fail entendre svm;.« 
lanement s'appelle accord. 

Si l'accord qu'on vent execuler est compose de trois notes 
quelles que soient les cordes sur lesquelles il s'execute, on J.e 
pince avec le pouce, l'index et le mddium ; s'il est de quatre 
notes, on y ajoute l'annulaire, et s'il est de cinq ou six notes le 
pouce pince en glissant les deux ou trois notes basses, et les 
autres doigts pincent les trois autres cordes. 

Pour que toutes les notes d'un accord resonnent bien, il faut 
que les doigts de la main gauche, courbes en forme de marteaux, 
pressent les cordes pres des touches et qu'ils n'empechent pas .a 
vibration des autres cordes ; puis on placera les doigts de la rr^cin 
droite contre les cordes destinees a etre pincees, et on ne les 
relevera que pour mettre ces cordes en oscillation. 

Les accords se font toujours un peu brises ou arpeges ; c'est- 
a-dire en pingant les notes les unes apres les autres, mais avec 
assez de vitesse pour qu'elles produisent le raeme effet que a> 
elles etaient pincees en meme tems. 



Examples. 
Chord with 3 Notes. Effect 4 Notes. Effect 



5 Notes. 



EXEMPLE8. 

Effect. 6 Notes. Effect. 



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In slow movements the chords are played, or arpeggioed 
slowly, in character with the movement, which is often indicated 
by this sign j, and which is placed before the chord. In quick 
movements, which are to be played with energy, and require 
much sound from the Guitar, the same sign is used to indicate 
that the thumb must be slid rapidly and with force across the 
strings which form the chord. 

The Barrcr. 

The Barrer is made by pressing the 1st finger on two or more 
strings, on the same fret. 

There are two Barrers, the Great and the Small. 

In the small Barrer the first finger stops but two or three 
strings. 

In the great Barrer, the first finger stops the whole of the 
six strings. 

To do the great barrer with ease, it is necessary to raise the 
* 1st. and to place the thumb entirelv behind the Neck. 



Dans les movements lents, les accords s'arpegent plus lenifc- 
ment que de coutume, souvent on les indique par ce signe | , qu« 
l'on place a cote de l'accord. Dans les movements vifs et pro- 
nonces, et qui exigent beaucoup de son de la Guitare, ce meme 
signe place a cote d'un accord, indique qu'il faut 1' executer en 
laissant glisser rapidement, et avec force, le pouce sur toutes les 
cordes. 

Du Barre. 

Barrer, c'est appuyer le premier doigt sur plusieurs cordes a 
la meme case. 

II y a deux Barres, le grand et le petit. 

Dans le potit barre, le premier doigt ne barre que deux on 
trois cordes. 

Dans le grand barre le premier doigt bane tins toute v* 
longueur toutes les cordes. 

Pour faire facilement le grand barre il faut ha isser le poigr** 
et porter le pouce tout-a-fait derriere le manche. 



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CARCASSI'S INSTRUCTIONS FOR THE GUITAR. 



Of Arpeggios. 

An Arpeggio is a number of notes played successively in 
uniform order, and which, when united, form chords. 

Arpeggios are used on the Guitar because they produce an 
agreeable effect on the instrument, and as studies, they give 
strength and agility to the fingers of the right hand. To execute 
the Arpeggio well, before making the strings vibrate the fingers 
of the left hand should be placed at once on the notes forming 
the chord on which the arpeggio is to be played ; and when the 
last note of the arpeggio is struck, the fingers should be raised 
to pass to the next chord. This rule is indispensable ; if the 
fingers were to quit the notes as soon as they are struck, the 
vibration of the entire chord would be obstructed ; of which, 
each note is an essential part. The fingers of the right hand 
should not touch the strings, but to make them vibrate ; with 
exception of the thumb, as described page 11. 



ARPEGGIOS WITH THREE AND FOUR FINGERS. 

These Arpeggios are given for the purpose of exercising 
the right hand, and to establish general rules, which will serve 
to show the fingering of that hand in all similar passages. 

Each Arpeggio ought to be repeated several times in succes- 
sion, ana as soon as the pupil is able to execute several with 
*ase. he may undertake the study of the eight Arpeggios at page 
19, without however abandoning the study of these'. 

The chords written at the top, are those from which the 22 
following Arpeggios are derived. 



Des Arpeges on Batteries. 

Onappelle arpeges ou batteries, un nombrc de note? p. nee* 
successivement dans un ordre uniforme, et qui reunies, forment 
des accords. Sur la Guitare les arpeges so tit tres usites paice- 
qu'ils produisent un effet agreable et particulier a ^instrument, 
comme etude, ils donnent de la force et de l'agilite aux doigta 
de la main droite. 

Pour bien executer les arpeges, il faut avant de pincer les 
cordes, que les doigts de la main gauche soient poses simultane- 
ment sur les notes formant l'accord sur lequel on arpege ; et 
lorsque la derniere note de l'arpege a ete frappe, on leve lea 
doigts pour passer a un autre accord. 

Cette regie est de rigueur ; si les doigts quittaient les notes 
au fur et a mesure qu'on les pince, on empecherait la resonnance 
complete de l'accord dont chaque note isolee forme une partie 
essentielle. 

Les doigts de la main droite ne doivent toucher les cordes 
que pour les mettre en vibration, a l'exception du pouce ; voyea 
la page 11. 

ARPEGES A TROIS ET A QUATRE DOIGTS 
Ces arpeges sont ecrits dans le but d'exercer la main droite, 

et d'etablir les regies generates qui scrviront a faire distingue^ 

le doigter de cette main dans tous les passages analoguss. 
Chacun de ces arpeges doit etre repete plusieurs fois de suite 

Aussitot l'eleve commencera a en executer plusieurs couramment. 

il pourra entreprendre I'etude des huit arpeges de la 'page 19 

sans cependant abandonner I'etude de ceux-ci. 

Les accords ecrits en tete ont servi a former les vingt dem 

arpeges qui en derivent. 



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C ARC AS SI'S INSTRUCTIONS FOR THE GUiTAIl. 



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En laissant glisser le Pouce de corde en corde. 



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To facilitate the study of the eight following Arpeggios, and 
the execution of the left hand, I have written on an upper stave 
over each bar, the chord which is to be played Arpeggio, as 
written on the stave below. The pupil will see at a glance, 
the chord composing the Arpeggio, and on which notes the 
ringers are to be placed. 

The dotted lines from one chord to the other, serve to show 
that the fingering of these notes has not changed, and that the 
ringers which press them must remain unmoved. 



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Pour faciliter l'etude de ces huit arpeges, et le mecanisme d« 
la main gauche, j'ai ecrit sur une por f ee superieure dans la 
meme mesure, les accords plaques qui sont detailles audesse ts 
en arpeges. Avant d'executer les arpeges, l'eleve saura deja oj 
sont les acccds qui les composent et sur lesquels il faut posei 
les doigts par un seul mouvement. Les points qui lient les noles 
d'un accord a l'autre servent a indiquer que le doigte de ces 
notes n'a point change dans l'accord suivant : les doigts qui les 
pressent doivent rester immobiles. 




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The Guitar may be played in all keys, but, like all other 
instruments, it has some keys more favorable to it than others. 
Those which are most suitable, are C, major ; G, major ; D, 
major and minor ; A, major and minor ; E, major and minor : 
and P, major. The other keys are difficult, because they re- 
quire too often, the use of the Barrer. I have therefore placed 
in the first part of this work, the Gamuts, Cadences and Exer- 
cises only in those keys most in use. 

As I think it important, however, to be acquainted with ail 
the keys, and that they should be practiced, I have placed ip 
the second part of this method all that I have thought necessary 
U>x thii purpose. 



La Guitare peut jouer darns tous les tons, mais comme tons 
les instruments, elle a ses tons favoris. Ceux qui lui convieir 
nent le mieux, sont : Ut majeur, Sol majeur, Re majeur e. 
mineur, La majeur et mineur, Mi majeur et mineur, et Ka na- 
jeur. 

Les autres sont difficiles parcequ'ils necessitent l'empioi trop 
fiequent du Barre ; aussi je n'ai note dans la Ire partie de ce 
ouvrage, que les Gammes, Cadences, Exercices et morceaus 
progressifs dans les tons les plus usites- 

Cependant comme je pense qu ; il est important de connaitro 
tous les tons et de s'y exeicer, f'ai place dans la 2me partie d« 
cette Mt'thode tout cr que j'ai cru necessaire pour arriver a c« 



£2 



CARCASSI'S INSTRUCTIONS FOR THE tfLlTAU. 



Gamuts, Cadences, Exercises and Preludes. 

To facilitate the execution of the Gamuts, it is necessary 
I at the fingers of the left hand should beheld sufficiently sep- 
i ated. and so placed, that they may be put on, and taken oft' 
t le strings, without moving the hand. 

A finger which is placed on a note, should not be moved but 
to finger the note following, unless this note should be an open 
string. 

In Gamuts ascending, when passing from one note to another, 
the finger must not be raised too quickly from the string, lest it 
vibrate if left open too soon. 

In the following Preludes and Little Pieces, care must be 
aken to sustain the notes, as well in the Bass, as in the other 
parts ; this caution is necessary, in order to obtain a full and 
harmonious style. 



Gammes, Cadences, Exercises et Preludes. 

Pour faciliter l'execution des Gammes, il faut que les doigtt 
de la main gauche se tiennent assez ecartes, et places de mariier* 
a pouvoir les poser et les lever sur les cordes, sans deianger h 
main. 

II ne faut jamais lever le doigt place sur une note, qu'en doig- 
tant la note suivante, a moins que eette note ne se fasse a vide. 

Dans les gammes montantes, iursqu'on passe d'une corde a 
une autre, il ne faut pas retirer ti >>p vivement le doigt de la corde 
que l'on quitte, afin d'eviter la vibration de cette corde a vide. 

Dans les Preludes et les petits morceaux suivants on aura 
soin de bien observer la tenue des *otes, tant a la basse qu'aux 
autres parties ; cette condition est i. T.essaire pour obtenir un jeu 
plein et harmonieux. 



Gamut. 



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Key of C Major. 

3 3 3 2 



En Ton d'Ut Majeur 



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CARCASSI'S INSTRUCTIONS FOR THE GUITAR. 



Key of G Major. 



En Ton dc Sol Majeur. 



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CAltCASSI'S INSTRUCTIONS FOR THE (JUITAlt 



Key of D Major. 

To facilitate the fingering in the Gamut of D Major, it is 
•secessarv to advance the left hand to the second fret. 



<«a mat. 



Kit Ton dc Re Majcur. 

Pour faciliter le doigte dans la Oamme du .or. ce Re n.«|ew 
il faut avancer la main gauche a la deuxieme tone le. 



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When two notes which are to be played on the same string 
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»n the next string. 

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frird string :>n the fourth fret. MZZZI 



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Lorsqu'on trouve deux notes ensemble qui toutes deax sa 
doigtent sur la meme corde, on fait la plus haute a sa place ordi- 
naire, et la plus basse on la doigte sur la corde suivante. 

On fait le Re sur la 2me corde, et le Si sur la 
3ine corde a la 4me case. 



The G on th) 'st string, the E on the 2d string 
« fie *Hh frst. 



f 



On fait le Sol sur la chanterelle, et le Mi tux la 
2me corde a la 5me case. 



»!ARCA8SI'S INSTRUCTIONS FOR THE GUITAR. 



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OARCASSI'S INSTRUCTIONS FOR i tf E GUITAR 

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CARCASSl'S INSTRUCTIONS FOR THE GUITAR. 
Key of E Major. En Ton dc 91 i Majcnr. 



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32 



CARCASSI'S INSTRUCTIONS FOR THE GUITAR 



Key of F Major. 

1* lil 23 2313 



Ed Ton de Fa Ulajcnr. 



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CAftOASSI'S INSTRUCTIONS FOR THE GUlTAli 



33 



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C A II C A S S I ' S INSTRUCTIONS FOR THE GUITAR 



Key of A Minor. 



En Ton de La !U incur. 



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CARCASSI'S INSTRUCTIONS FOR THE GUITAR 



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CA RCA SSI'S INSTRUCTIONS K(»U THE GUJITAa. 



Hey of K minor. 

„ 2 3 2 4 12 4 2 2 4 

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3ARCASSI'S INSTRUCTIONS FOR THE GUITAR. 

Key of D Minor. | En Ton de Re N incur. 



37 



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CAfiCASSI'S INSTRUCTIONS Fun THE GUITAR. 



Guitar .msic aimost always squires several parts, which 
nrreases i le difficulty 01" execution, unless the pupil has already 
n-quired the habit of moving each finger of the left hand, 
separately and independently The following 22 exercises are 
v->ry useful in obtaining this object. Each of them should be 
fpoated rive or six times. 

Whilst the pupil is practising these exercises, he may at the 
*ame time apply himself to the first twelve little pieces of the 
hird part, and afterwards to the exercises of the second part. 

Continue with the same fingers of the right hand. 



La musique de Guitare exige presque toujorjs plutfieui 
parties, qui presentent desdifficultt3 d'execution, lorsqu'on n ; a pw 
acquis a l'avance, l'habitude de diriger chaque doig; de la rrair 
gauche, par une impulsion, independante des autres doigts. 

Les 22 exercices suivans sont tres convenables pour arriv ,r * 
ce but. Chacun de ces exercices doit etre repete cinq ou sij 
fois de suite. L'eleve pourra, tout en travaillant ces exeicice* 
entreprendre d'etudier les douze premiers petits rrorceaux Xt 
la troisieme partie ; et pourra suivre ensuite les exercices de is 
seconde partie. 

Suivez avec les memos doiats de la main droite. 



»\o. 1. 



No. 2. 



No. 3. 



No. 4. 



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CARCASSI'S INSTRUCTIONS FOR THE nulTAR, 



in G. 

Ed Sol. 




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40 



i,ARCASSI'S INSTRUCTIONS FOR THE GUITAK. 



SECOND PART. 



SECONDE PARTIE. 



Of the Sliir. 

Two or more Notes pl?yed successively, of which only the 
first is made to vibrate by the right hand, and the others by the 
mere pressure of the fingers of the left hand, are called slurred 
notes. 

Slurs are performed both in rising and in descending. To ex- 
ecute slurs of two note?, in rising the lower note is to be played, 
and the finger of the left hand descends like a hammer and 
with a good deal of force upon the higher note, which must 
sound from the mere impulse of this finger. 

In descending, the higher note is played, and drawing the 
finger which pressed it, a little to one side, so as to touch the 
string a little, the lower note is made to sound. If the latter 
note is not on an open string, it must be prepared before the 
higher note is made to vibrate. 

The fi'ir is indicated by this sign ^- --^. placed over the 
notes fh\ch are to be slurred. 



Des notes coulees et liees. 

On appelle notes coulees deux ou plusieurs notes feites sue 
cessivement, dont la premiere seulement est mise en vibration 
par la main droite, et les autres par la seule pression des doigta 
de la main gauche. 

Les coules se font en montant et en descendant. Pour exe- 
cuter des coules de deux notes en montant, on pince la note 
grave, et on laisse tomber le doigt de la main gauche, en forme 
de marteau, et avec assez de force, sur la note aigiie, qui doit 
resonner par la seule impulsion de ce doigt. 

En descendant on pince la note aigiie, et en retirant le doipt 
qui la comprimait. un peu de cote, de maniere a pincer un peu 
lacorde, on fait resonner la note grave. Si cette note ne se fan 
pas a vide, il faut qu'elle soit preparee avant que la note aigii* 
soit mise en vibration. 

Le coule est mdique par ce signe ^- >^, place sur es not« 
qu'on doit couler. 



S/.URS OF TWO NOTES RISING AND DESCENDING. 

Play the E and place the first finger on P. 
Pince lc Mi et appuyez le ler dotgt sur le Fa. 



COULES DE DEUX NOTES EN MONTANT ET EN 
DESCENDANT. 



mr 



5=j 



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Pay the F and draw hack the finger to sound the E. 
Pincez le Fa et retirez le doigt pour faire entendre le Mi. 




Play the B and place the 3d finger on C. 
Pincez le Si et appuyez le 8e doigt sur l'Ut. 



£: 



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Play the G and draw back the finger to sound the F. 
Pincez le Sol et retirez le doigt pour faire entendre le Fa. 



-&- 



m 



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There are also slurs of two notes, in descending, on two dif- 
lerent strings, which are called " Vibration Slurs." To perform 
lh*m, play the higher note, which in this case is almost always 
open, then str >e hard with the finger of the left hand the note 
«vhich is to be slurrel, and which will be sounded by the mere 
impulse of the finger 



On fait aussi des coules de deux notes, en descendant, sui 
deux cordes differentes, qu'on appelle coules par vibration 
Pour les executer on pince la note aigiie, qui dans ce cas, esi 
presque toujours a vide, puis l'on frappe fortemeut a\ ec le doigl 
de la main gauche la note devant etre coulee, et qui resonnen 
par la seule impulsion de ce doigt. 



OARCASSI'S INSTRUCTIONS FUR THE GUITAR 



in rising the effect of the slur is also produced by sliding the 
thumb of the right hand from one string to the other ; in this 
rase the first note must be struck rather hard and the thumb 
Iide with de'icacy over the next string. 

Play the E and strike the 3d finger on D. 
Pincez le Mi et frappea le 3e doigt sur le Re. 

same. 



41 

En montant on produit aussi l'effet du coule en glissant le 
pouce de la main droite d'une corde a l'autre ; dans ce cas i 
faut attaquer la premiere note un peu fort et glisser le pcjci 
avec delicatesse sur la corde voisine 



same. 



Hil^^siipl 



Vibration. 



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Slide the thumb. 
Glissez le pouce. 



same. 



same. Vibration, same. 



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CAKCASSI'S INSTRUCTIONS FOR THE GUITAR 



Slurs of three or four notes are made in the same manner as j Les coules de trois ou quatre notes se font par le meme mojr«B 
."jse of two notes, by setting the first note in vibration with ' que ceux de deux notes, en mettant en vibration la premier* 



the right hand, and laying on or withdrawing, according as the 
s ur is ascending or descending, as many fingers of the left 
rand as there are notes to be slurped. 



Slnrs of Three Notes. 

Shart the Mi, and then place successively the first finger upon the Fa, and 



the \iird \ym the Sol. 



note avec la main droite, et en appuyant, ou en retirant succes- 
sivement, selon que le coule est ascendant ou descendant, antanl 
de doigts de la main gauche qu'il y a de notes a couler. Er 
descendant il faut toujours preparer les notes qn'on doit couloi 
excepte celles qui se font a vide. 

Coules De Trois Notes 

Pincez le Mi et appuysz successivement le ler. doigt sur le Fa et le le mi 
le Sol. 



Example. 



Id. Id. 



bk — i- 



5 5 



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Sharp the Sol, and successively remove the. fingers to produce the Fa and Pincez le Sol et retirez successivement les doigts pour faire le Fa et W 



■mMi. 



Id. 



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: F 



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Example. jH9-— - 



Slnrs of Four Notes. | Conies De Qnatre Notes. 







:5 



Scales, too, may be executed in slurred notes, ascending or 
lescending, by a mere sliding of the thumb. 

In this scale you set the open string to vibrating, with the 
thumb, letting it slide fro.n siring to string. 



On peut aussi executer des gammes en notes coulees, tant ei 
montant qu'en descendant, d'un seul trait. 

Dans cette gamine, on met la corde a vide en vibration ate* 
le pouce en le glissant de corde en corde. 



Example. 



s-e 



S 



sr""l Ti — jr i i" 



, t— w — t~l _~ 



In this last you sharp the first note, and slur all the rest. | Dan i celle-ci on pince la Ire. note et l'on coule tout le retto 




Double notes a. so may be slurred, but only two by two. 



On coule aussi les ioubles notes; mais seulement d« detu 
en deux. 



Example. ^ziq^^-p^^^^^-F^f-S 1 *^-^ 1 ! 



-i—Gt- 






(JAROASoiS INSTRUCTIONS FOE THE UUITAK. 



43 



The Slide. 

The Slide is performed by one finger of the left hand, which 
ilides along the neck in passing over all the frets from the 1st 
to the 2d note, after having struck with the right hand the first 
el the two notes. The slide produces a good effect on the 
gr itar, because it imitates the sound of the voice. It is indicated 
bv this sign 



Slide the 2d finger from F to A. 



Da son Glisse on Porte. 

Le son glisse ou porte, s'execute par un seul doigt ae la maic 
gauche, qui glisse le long du manche en passant sur touies lei 
touches de la premiere a la deuxieme note, apres avcir attaqu* 
la premiere des deux notes avec la main droite. 

Le glisse produit un bon effet sur la Guitare, parcequ'il imite 
le son porte de la voix. 

II s'indique par ce signe 



Slide the 3d finger from D to B. 




Glissez le 2e doigt dn Fa au La. 
Slides are also performed in double notes. 



Glissez le 3e doigt du Re au Si. 

On fait aussi des glisses en doubles notes. 



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^iS^iliiigi 



Small Notes or Appoggiatura. 

This name is given to a small note, which sometimes is of 
half the value of the note which it precedes. In this case it is 
the .ong Appoggiatura, and when it has but a very short dura- 
tion it is called the short Appoggiatura. 

To distinguish the short from the long Appoggiatura, the 
former is crossed at the end. The small notes are played the 
same as slurs, giving an impulse to the small note with the 
right hand, and making the principal note sound with the finger 
of the left hand. 

When a common note, preceded by a small note, is accompa- 
nied by one or more parts, the small note must be played with 
the accompanying parts, and the principal note be slurred imme- 
diately. 



Des petites notes on Appoggiatnres. 

On donne ce nom a une petite note qui souvent prend Is 
moitie de la valeur de la note qu'elle precede. Dans ce cas, 
e'est l'appoggiature longue, et quand elle n'a qu'une tres court* 
duree, on l'appelle appoggiature breve. 

Pour distinguer l'appoggiature breve de la longue, on l'ecrit 
par une croche coupee d'nne ligne transversale. Les petitei 
notes s'executent comme les couies en donnant l'impulsion de la 
main droite a la petite note, et en faisant resonner la note princi- 
pale avec le doigt de la main gauche. Lorsqu'une note orli- 
naire, precedee d'une petite note, est accompagnee d une >>a 
plusieurs parties, il faut pincer la petite note avec ics parties 
d'accompagnement et couler immediatement la note principile. 



Long small notes. 
Petites notes longues. 



Short small notes. 
Petites notes breves. 



Written. 



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Small nrttis to be >!«yed with the notes of Accompaniment. Petites notes frappant avec des notes d'accompagnement. 




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4 4 



<:ARCASSI'S INSTRUCT IONS FOR THE GUITAR 



Double Small Notes, or Appoggiatnras. 

Two Appoggiaturas are executed in the same manner as two 
(inncipa notes slurred; only with more rapidity, since the lat- 
i*r receive their full value, whereas the small notes borrow 
^-oiew hat from the duration of the principal notes. 



Petitcs Notes Doubles. 

Les petites notes doubles s'executent par le meme meyen q t 
les coules de deux notes : mais avec plus de vitesse paicequ'«i»; 
donne aux notes coulees toute la valeur qu'elles representeut 
tandis que les petites notes ne s'executent qu'aux depens de In 
valeur des notes principales. 



Indication* 



Execution. 



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.HORT PIECES FOR THE PRACTICE OF A?POG- 
GIATURAS. 



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PETITS MORCEAUX POUR EXERCER LES PETITES 
NOTES. 



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CARCASSI'S INSTRUCTIONS FOB THE GUITAR. 



Of the Gruppetto. t 

Fhis is Ihe name of a group of appoggiatura notes, composed ' 
jf the principal note and its auxiliary note immediately above 
and below. It is indicated and performed in three ways • 

1. By beginning with the pimcipa. ucvs, A ( # ^ ^-.j 

2. By beginning with the auxiliary above, B (^.) 

3. By beginning with the auxiliary below, C (^.) 
This is ca»Ied inverted in most treatises, and indicated (^.) 



Ba Gronppetto, 

On nomme ainsi un groupe de petiles nc es compost de h 
r.iote principale et de l'auxiliaire superieure et inferieure. II est 
jndique et s'execute de trois manieres : 

lo. En commengant par la note principale av*c one petit* 

note, A ( # \ -^.) 

2o. Par l'auxiliaire superieure, B ('^.) 
3o. Par l'auxiliaire inferieure, C {"+*.) 



Indication. , 



Execution. 



:53 



EXAMPLE. 



-*-m 



B 



C 



I * 



■P- 



Gruppetto beginning with the principal note. With the note above. 

Gruppetto commengant par la note principale. Par l'auxiliaire superieure. 



_■ — , ^ 



With the note below. 
Par l'auxiliaire inferieure. 



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If a little note of the gruppetto is to be altered by a Sharp or 
f"at, it is thus indicated for the auxiliary above, (^,) and thus 
or th«» auxiliary beiow, ("^.) 



Si une petite note du grouppetto devait etre alteree par ua 
dieze ou bemol. on l'indique ainsi pour l'auxiliaire superieure 
(4^,) et pour l'auxiliaire inferieure, (^.) 



Indication. 



Execution, 



i 






& 



IL 



With the upper auxiliary altered. 
Avec l'auxiliaire superieure alteree. 



With the lower auxiliary altered. 
Avec l'auxiliaire inferieure alteree. 



lFE5 *ga t>'-ar 



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II 



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When tne Gruppetto stands between two piincipal notes, it is 
fc! ways commenced with the upper auxiliary. 



Quand le grouppetto se trouve place entre leux noiem so A 
commence toujours par l'auxiliaire superieure. 



Indication. 



IfrccHtion. 




4<; 



»;arcassi's instructions for the guitar 



Of the Trill. 

'Fhe Trill in where a note alternates, for a longer or shorter 
lime, recording to its value, and very rapidly, with the note 
which is a tone or half a tone above it, and which is termed 
the auxiliary note. The Trill should generally begin and end 
■* ith the principal note. Every Trill should have a termina- 
tion ; this termination consists of the tone or semitone below, 
followed by the principa' note. (See following Examples.) 

On the Guitar the Trili is made in three ways : 

1. By snapping the first note, and slurring the rest of the 
TmU 

2 By snapping the principal, and slurring the auxiliary 
uotf , 

3. By taking the two notes upon two different strings with 
the left hand, and snapping them with two or three fingers. 



Da Trillc on Cadence. 

Le Trille est une note qui selon sa valeur, alterne j 1 is oC 
moins longtems, et tres vite, avec une autre note qui se trouvf. 
un ton, ou un demi-ton plus haut, et qu'on nomme note auxu 
iaire. Le trille doit generalement commencer par la not* 
principale, et finir avec elle. Chaque trille doit recevoir une ter- 
minaison ; cette terminaison consiste dans un ton ou demi-tor 
inferieur suivi de la note principale. (Yoyez les oxemplei 
suivans.) 

Sur la Guitare on fait le trille de trois manieres : 

lo. En pingant la premiere note et en coulant le reste do 
trille. 

2o. En pingant la note principale et en coulant ia note aux- 
iliaire. 

3o. En preparant les deux notes sur deux cordes diffe'rentei 
avec la main gauche, et en les pingant avec deux ou trois doigu 



Indication. 



Execution 



■ ( 




**& 



1st manner. 
Ire maniere. 

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2d manner. 
2me maniere. 

tS> 



Termination. 
Terminaison. 



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Indication. 



Execution. 




3d Manner. 
3me Maniere. 
rr 



• Just so with an accompaniment. * 

iani e re arec une partie 
\X d'accompagnement. 



De la me me maniere avec une partie \ 



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Fingering of the Right hand. 
On le doigte avec la main droite. 

id. 



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♦\Tien the short duration of the note on which the Trill is 
made, or when the following note prevents a termination, it is 
M> longer a Trill, but merely a note trilled. 



X XX 



m 




Lorsque la courte duree de la note sur laquelle on fan i« 
trille, ou la note suivante empeche de faire une terminaison. «* 
n'est plus alors un trille, mais simplement une note tril t«. 



Indication. 



Execution 



■I 



Usually written. 
Signes usites. 



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CAROASSI'S INSTRUCTIONS FOR THE GUITAR 



4? 



Of the Mordente. 

This ornameru is a fragment of a Trill. It is made upon long 
and short notes ; but has a particularly fine effect upon the 
latter ; it is indicated by the sign, v 



Du Mordente. 

Cet ornement est un fragment du trille. H se fa t sur dei 
notes longues et courtes : il est surtout d'un bel effet sur cm 
dernieres ; on l'indique par ce signe. * 



Indication. 



Execution. 



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Mordente upon long notes. 
Mordente sur des notes longues. 



Mordente upon short notes. 
Mordente sur des notes courtes. 



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Muffled Tones. 

To damp or smothei the sounds, you have only to plac3 the 
tmgers of the right hand upon the strings just snapped, after 
allowing them to vibrate during their written value, (whiiih is 
here a sixteenth. ) 

Uhords of five or six notes are sharped by laying the palm of 
the right hand upon all the strings, near the rosette. 



Sons fttouflVs. 

Pour etouffer les sons, il suffit de poser les doigts de la man. 
droite sur les cordes qu'ils viennent de pincer, apres les avcii 
laisse vibrer pendant la valeur qu'elles representent qui est d'un 
seizieme. 

Les accords de cinq ou six notes s'etoufFent en posant la par> 
me de la main droite sur toutes les cordes, pres de la rosette. 



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48 



CARCASSI'S INSTRUCTIONS FOR THE GUITAR. 



Positions. 

TLere are twelve positions on the finger-board of the Guitar ; 
Hmong those there are five which are called rincipal positions, 
*s they are most in use. and a knowledge of them is sufficient 
io get acquainted with the others. 

These positions are the 1st, 4th, 5th, 7th and 9th. 

f he study of the Gamut, of the exercises and the following 
pieces, in those different positions, will be sufficient for this 
purpose. 

GAMUT IN THE FOURTH POSITION. 



Positions. 

II y a douz3 positions sur le manche de la Guitare ; patn. <** 
nombre il y en a cinq qu' un nomme positions principals, far 
cequ'elles sont les plus usitees, et que leur connaissance suffit 
pour donner ^intelligence des autres. 

Ces positions sont : la Ire, 4me, 5me, 7me et 9me. 

L'etudedes gammes, exercices, et morceaux suivants, a cei 
differentes positions, suffira pour arnver a c.e. resultat. 



GAMME A LA QUATRIEME POSITION, 



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6th String. 
6me Corde. 



5th. 
5me. 



4th. 
4 me. 



3d. 
Sme. 



2d. 

2me. 



1st 
Ire. 



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r*ercise. ?-# -#-7t 




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4th Pos. 



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CARCASSI'S INSTRUCTIONS FOR THE GUITAR 

Gamut in the Fifth Position. | Gammc A La Cinquiemc Position. 



49 



6th Strinar. 
6me Corde. 



6th. 
5me. 



4th. 
4me. 



Sd. 
Sme. 



2d. 

2me. 



1st. 
ire. 



Exercise. 



•^ ^P ^~ -#L 9 J 4 134 13 124 

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CARCASST S INSTRUCTIONS JTOK THE GU1TAK. 

Gamut in the Seventh Position. | Gamme a la Septieme Positive 



*th String. 
6me. Corde. 



5th. 
5me. 



4th. 
4me. 



3d. 
3me. 



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2d 
2me. 

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CAROASSI'S INSTRUCTIONS FOR THE GUITAE 
Gamut in the ninth Position. Gamine a la neuvieme /osition. 



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vJ A R A S S I S INSTRUCTIONS FOR THE UuiTAIt 



There are cases where we profit by a note piayed upon an 
open string, to pass with greater facility from one position to 
mother, this note is indicated by a (o) which is placed over a 
iot» 

9th Pos 
1st Pos, 



II y a des cas ou l'oi. profite d'line note executee sur line com*. 
a vide pour passer plus facilement d'une position a 1 'autre, cetta 
note est indiquee par un (o) que Ton place sur la note metne. 



sample. jtz$z^^^jpS^ 



9th Pos. 9th Pos. 1st Pos. 



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Sometimes the first finger is drawn back one fret, without thf I duelquefois, dans une Dosition, le ler doigt recule en arrier* 
noaition of the hand being altered on that account. d'une touche sans que pour cela, la main quitte cette position. 



9th Pos. 



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The four following pieces are written so that the pupil may 
g o through the different positions. 



Les quatre morceaux suivans sont ecnts pour apprenare • 
parcourir les differentes positions. 



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iflegrette. gi^fcqg: 



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4th Pos. 



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CARCASSI'S INSTRUCTIONS FOR THE GUITAR. 



^3 



lllegrntto. 



5th Pos. • • 

A a. _ 

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lBt POS. 



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54 



CARCASSI'S INSTRUCTIONS FOR THE GUITAR. 



9th Pos 



i J- 



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5th Pos. 



2d Pos. 






A* 



1 T T- r T 



i^ ^ 



r T 



Bar. 



^^=tP^i=? 



::^= 2 f 



S 



i i 



#*# 



-i i ; i -t 



^ 



9th Pos, 



y-rg: ^j. j t 



J. .«!. -^ i = 



JJ- 




r 



?& "LS 



gg^ 



OARCASSI 3 INSTRUCTIONS tfOR THE GUITAR. 



55 






^JJ^jSS^^^^^^Sgaa: 



-0- 
i 

7th Pos. 



'9 — 

U -»-■ 






r i ih * — ^F^^ T T =1= JP^Jw 



4#- 



7 



*zn 




5£ 



i ' i 



+=p- 



fe 



9th Po8. 

I \ J -#■ 



>_ 



trriiTi ± 



jf-% 



Minor. 




1 St Po9 



MMsmm 




* 



P* 



#3. 53. JT 3 2 jt^-j 



-T— *" 



j^-jj y^--* - 



I 



f-* 



56 



CARCASSI'8 INSTRUCTIONS FOR THE GUITAR 



^M—± 



t?— 



ht 



iZ 53- J 3 



~k 4 



M. 



le Pta>. 



wm 



r r 



T 



t 



r 



+ f 7 



*— j— H— -i l l * i * 



■* - i • I ' M #1 J. 



ii§iii§ 



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_ # _n_ # * 



^ i-0 



r 



thr 



^fi 



# 0- 



- J* w d y ~^~|-J7^- g -3t^i y 



9th Pos- 



i in TJi ^TTj v — — ^ 



#* 



#«l S2L v ^ 



-**^ 



z#£ 



,« f- 



D*lce. 



r r 



r 



MAJOR. 9tb Pos - 



J. 






t~jtb. j~~r+ i-«*5yi ,N j"5 



z *0 



J"3 



»- «. — — B# i. 



7-t=" 



F 



r 



r 



5tn Pos- 



2d Pos- 




1st Pos- 






T 



^* 



-fz0: 



3E^ 

r 



2 3- 



9th Pos. 



*=*. 



Ecart 



uk 



r 



:J=iM^: 



-* ^ 



is- A *- 



jz ^ajj 



9th Pos. 2d Pos. 



r 



aiei 



9th Pos- 

m 

-P- - 



7th Pos.-- 2d Pos. 



r 



ip — I*- 



H h 



"=£= 



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r 



CARCASSI'S INSTRUCTIONS FOR THE GUITAR 



57 



Of Double Notes. 

On the Guitar there are passages of double notes >r thirds, 
uxths, octaves, and tenths ; to facilitate their execution, it is 
necessary to slide the fingers as much as possible, in "massing 
from one fret to another. 

In these first exercises the fingers which are to slide are 
marked by small lines placed between the numbers, to indicate 
the fingering of the left hand. 



Des Doubles Votes. 

Sur la Guitare, on fait des passages de doubles notes er 
tierces, sixtes, octaves et dixiemes ; pour en faciliter l'execu- 
tion, il faut, autant que possible glisser les doigts en passant 
d'une case a l'autre. 

Dans ces premiers exercices, les doigts qui doivent glissei 
sont marques par de petits traits d'union entre les chiffres pou 
indiquer le doigte de la main gauche. 



Gamut in Thirds. 



Gamme en Tierces. 



1-1 2-2 



1-1. 



1.-1 



. ±±ttt 



-&- r I L U 2 4 X o_o o _ o _ o _ n 



"I — I — I 



2-2 

I I 



1-1 



• 
"I 



3-3-3-3 



3-3-3-3-3-3 



1 4 



z »: 



--) 1 

:»zra n_ 



1 1 f r 






a 



i - 1 



~ i 



Exercise. 5f ■-=- — ' 



— ; m — w~- 2 — w — s ~~ i — j~ — i — — r 

~ i<* " — " o" p — 1*" 



*+ 






2 

1 

-#- 
-+-3- 






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— ' «- T iJ 

--— — : #-|e#- 




sir 



:3«z 



2# 2# 1-t-* 



is? 

I 
1 



rrrri. 



3-TJ 



■M 



l-i 



, ,! , - _ . __j. |g I — 

! ' ! — I ! 






-m- 

-0- 



3~EC3 




SMW^m 



Gamut in Sixths. 1± 4-4 21 4 4 Gamme en Sixtes. 



Eicrcise. 



—^ — 3 — 3 J 1 — 





£ 






58 



CARCASSI'S INSTRUCTIONS FOR THE GUITAR 

- 2^- i a - a I ! 







4* 



3 



J«.. 4* *<■ J 



^lai^ll 



f 



- 3-3-3-3 - 3 



Gamut in Octaves. | Gamme en Octaves. 

4-4-4-4-4- 41- 4 4,-4-4-4 

I .J. A ± — '■—-*! ± _J_ JL I * ° 



D C, 



d 



Ff 



&l^zEE^t 






--?- f f b '2 



f 



• l-i-i-i-i-i-i-i-i 



4 1 o 

I I I o 



112 3 
3 o 



° 3 2 



Hr 



O 1 

I I 



ms m^g^ mmm 



3 2 



T 



r 



3 o 



Exercise 



4-4-4 



4 1 










*^o l-i 



o 3 



4-4-4-4 



— i — i — it~i — jrn — i — i ~r~ii^n — ' — J_* ~j - c"i~3 •" zz_ r- -»_# 



tiff- ?CZ? ? rff "^ 



3-3 



eep 



^l****"^ o 1-1.-1 .... o*"*^ I I 




1 



Scale in Tenths. 



Gamme en Dixieincs. 



4-4 ----1 4 

, o 1 4 o 1 | ! ' l d JL JL d i I 1 ' o 4 1 1 

■ZT T" P £ 2 3 o 2 , I 2 1-1 1-1 S I , 2 o , 8 , o , a r , g 
lo l 3 ° 



4 3 



4 - 



4 3 4 4 4 4 

i ' i I — VI 4 o 4 



Exercise. 




4-4-4-4 






i — i m rr^ s 

0-d-J T ->MlL-0-J- 



4 «-«-^ r*"»«^. 4 _-i r^", r^r 4 o t 4 



OARCASSI'S INSTRUCTIONS FOR THE GUITAR 



59 



St«dy.j 



AHOANTINO. 

> 

— -*— j- 




zzm 






i 



2 a 

J- J* 



/>/ 







3*--# — * — #— L • r m ~\A — m — • ■ „ •— 3— 







:3i^n: 



1 - 1 


2 1 

1 1 ^ 


a-- a -"- 

"25" 





jr g 25 I j " B" = "U"-"3 S 8'— ••: I* ~ __ 



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1-1 



I 



rT-i_ pp_jxjj- j^*^^^in-j^ 



PP'e^e^S 



01 

jp— w — # — j— 5 — j- 



rscz^zi. 



:e-?E5 



Wl/"^- 



-(S?- 



1^- 

I 



f 



r 



F 



T 



1 

"1 



'r i 1 i 1 



-jT m -J> 



^SPbt=A 



<»- 



1 



-T- 



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^i^J^^f 



1 « 

•X— 1- 

* — •- 



I J i # I** 



1 | J J 



3fr=g= i=g= E* 



#8- 






2- 2. 




25 



, . _ c . x — i-g-^-g— 2 r l :zl •" 

1 p "p 1 P-(^ 



3 d 



2-2 



Study .j 




2-2 



o 4 4 2 4 - -fc 

-——,—)• — | — | — r — j — -*- ' — — x — — a F—f — I — tiissi* — ' 

f fl I L>— 1 3 3 * 3 ~- 3 1 ~£J~* *^9 1 — " i 3-3 3 



— I | — ! 

3-3-3 



2-2 



njf _iLgi_.*_«j_ 



2-2 



~1 



r _ r~3ar7i i — i — * — ^ — 1~ r _ *f^ — i — I — ^r — a~r r — izzM— ' — •* i — ez 

1 — i — r-±*— a "Sir~#~ -~r~ 1 i — r ~ ■ ri L=_L =X=J — — > — ' — ' — *~r — 

"■— ^-J — **~~ 1-1-1 3 3 l 3 13 




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m __m- r - r -f-h r~r-"i — lz^; — i — r ' I"" f~ f~ f #— # -,>*—""_—«= ? 

t— ■ - !-- ^l 3 - 3 - 3 - 3 - 3 - 8 - 3 - T^l ^^* ,; *-J ^ l* a F V 25" 

1:5 l a - 3 i i I ' I ' m ~ 



Study. 



CARCASSI'S INSThUCTl I) N fe FOfv TIIK GUlTAh 



Moileralo. 







*-N 



s 



^ 



■—3 — (• — — g r 1 — # — k^ 1 • — 5 == i» =Z1: 




* — \ m V±- 1 I h^- — w 4 J w — 9-&— -A — 






Andante* 



Study. 3Ez&: 



!^5E^s! 



3_ >. it #J_ 






P/ 



ST r C^ THH> Lf Lf Lf LFlF 3 



1 



5- * 4 " 


J3 


[ jrj 


9th Pos 


jL -*: J. 


J7n 

c- 


-*1 

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lhhf l0^ Gr^ u rprpf 



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II 






CARCASSI'S INSTRUCTIONS FOR THE G.1TAR. 



61 



In passages of thirds, sixths, and tenths, sometimes we find 
.1 accompanying part which rests upon a single continuous 
hote, and which is put in to produce an effect peculiar to the 
guitar. This part should always be executed upon an open 
string, even if the other parts are higher ; in which case they 
should be taken upon strings below the open string. 



On trouve quelquefois. avec des passages en tierces, sixtei 
et dixiemes, une autre partie continue d'accompagnemeni qui 
devient superieure ou intermediaire pour produire des effets pa r 
ticuliers a la Guitare. Cette partie doit toujours etre executee 
sur une corde a vide quand meme les autres parties seraient pint 
aigiies ; dans ce dernier cas, on les doigte sur les cordes irarae- 
diatement inferieures a la corde a vide. 



EXAMPLE. 



Thirds. 

Tierces. 



Sixths. 

Sixtes. 



Tenths. 

Dixiemes. 




EXEMPLE 
o o o 

l 2 l 2 



nmt^Mm^mm 



: F 



3 

o 



r 



04 Or, 00 OOOO 

f=?=BEF.M-^=i^^— ft 



T 



V 



O O4 04 o A 

II f f- > 



Study. 

fetude. 




% 



14 



IS 18 



r 



I 



M 9 p- 



'w: 

-0- 



I 



:J: 



1-.»- 



i#f iir 



1 4 






— 1 — w- 

r 



ifflurs: 







»-•- 



:#iz«: 



"T 

Z1Z 



is#: 






!*ra- 



4JL 



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EIEE 






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T 



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.„ og ?g~gg ro# _ 

B 9 J* 2» - 



■F 



_ri_ 1 j ~~ 



-F 



1"«' 






f F 




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r + 



^•zio^-fc^zz??Z3zii^Z 




Dim. 



Dolce. ~H 



4 



-F -£- : ^i* E-» r* : S^-s- 




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1 -#- 
1 



zzbpzz r 




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iZE*Z^RZ?Z^ 



:»-— jziz gzzrtr-^ — • — ^-\'9 —^ 






P -f l 



^2 **L 

-J — \~Z39 5i &9 OfHI — _ II 



<;•£ 



C A IIC AS SI'S INSTRUCTIONS FOR THE GUITAR 



Scales, Cadences, Exercises, and Prclndcs, 

in the Major and Minor Keys, which have not been presented 
in the First Part. 



Scale. 



r# 



Key of B Minor 

1st Pos. 



(•amines, Cadences, Excrciccs et Preludes, 

dans les tons majeurs et mineurs qui n'ont point ete prtientft 
dans la premiere Partie. 



Ton de Si Mincur. 



4th Pos. 



2d Poi. 



8-e 



-j-j-t 



! : J I J^ r 



JIWl 



-r\-z^r*rr\\ — i i > — r-t~i — i — rz*t 

!ZE^Fi;EZZZ3ZEEEEZZB:i: 






* ¥ 



2d Pos. 1ft. 



2d. 



'If 



m 



Cadence. 



: fe=li=#=F^ ~ 



_4 gI=^ =T=,^ 









33: 



II 



■r 



1"S" 



Eiercise. 



r#; 



1st Pos. 



: 5 









"» j — i i 



-3 5 

ZLHzzzrnzziSi 






#-a 



r pP^£fi^E£E@^iS 



-| — i i r— r i i r-tr ". 



'i i r 




M — i~i~ -z-qH 9 *- — 1 — -Tg— r ~rzz " 



2d Pos. 

^ ?ffl ^ ^ Cffl_ .^ 



^.ji _ i^te '^^ ^2$ ■*£* H^n .«*2*_ ^<*2$ S-H_j»<H *2K_ Hn_ ^£35_ ^ 

Prelnde. fa*^^=flj*+zn S __z _=ttJ ^P_pp#»zn=np_ _:^_**W_rp!L _z**3 

tt)3— •4r-ig »' — r-j*- — |* — ■"i.T ~- — "jg .zz hpzzzzrzzzntzz: bzn? z 



-L-^S=» 



P 



72T 



1st Pos. 



m/P" 



— | y"— y — 



"ST 



TT 

38" 






gr. barre. 




z^ees* 



Scale. 



:zr 

Key of F # Minor. 

:tz*zzzz— 



— ==FIV 

i 1 — zz 

.* "P 



wmrwjfirwzjDzy 
zzzzzzzzzEpz 



S3 «*»4$ ^^ &2 

n - #T_ G^nzinznn-rnf; 



~^~S 



^ 



'0' 



n5zn#»»»»~i-p" 

~r#p n» - 

hJ* ~t~~ 



*S 



l 
Ton de Fa # Minenr. 



ZS_ 

i 



I 



"n 



Zj-nzzn-j-gif-#« 



td-l-^r # Jzbsi^_J:przhz=±_^z e±zz ^ 



: ^zcs^, 



a: '-?• * : T 



P^FZJZJZJ 



l-§ 



r#:.«- 



2d Pos. 

gr. barre. 



4th Pos. 



Cadence, jfc-g-e— jg — e ^t_Tgzz^gjZZ 



id I 

jgpqpfg-: 

ZJZlg 



2d Pos. 



tgfcBEa 



Eiercise. 



3£ 



-#-*- 



— ip 



■P" ^ 



^e : 



zl ~~r li -#r "*■ ir 
:J: "«r -*- 



P5zzl3zlz 






i^r 



i r 



i — i — r 



ifftenazn — 



-f—i- 



E3 

ZI~ 



— 3 i i i — i — r~zt zj 
V^-r-izT-f-i-J: H: 



5^1^ 






553: : 



1 



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^ 



: 3 = ^ :: l . i i ff d 

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is 



f 5 " I s *" 



CARCASSI'S INSTRUCTIONS FOR THE GUITAR. 



63 



2d Pop. 
petit barre 



4th Poa 
gr. barre. 



2d Pot. 



Prelude 




lit r*«s. 4th Pos. gr. barre 

xgzzz mz]z d; 



*-i-n rrr* 



3 I 3 

4 4 






I 



Scale. 



Key of C # Mineiir. 

1st Pos. 



Ton dTt # Minenr. 

1st Pos. 



^=% 



i? 



SSI 



6th Pos. 1st Pos. 



4th Pos. 2d Pos. 4th Pos. 
gr. barre. 



-4& 



Cadence. 



^ ^ E^g^ zg^ 



^zzzij 



IP 



E t erf i *e 2z8z^iLZZZZZr _ iSP T^ ~ ~r i3 — fz * — ZJZZr F — f — P — f* ~~E"»~£^~i I n~ Z!ZZZr"*i — t 

Liei cise. fe_ ff — fezzzrzzn~ — x zgi&gz^zjzrzzjzzfi^zx^s^CuZr" j— " -5»-i^— ;g — g- ~«r^j~TT 



6 zgz*zzzT 






a 



Prekdet 






4th Pos. 

_| ! l_ l_ 



1st Pos- pet. barre. 



ff-1-2— nzn 1 *-] 



~8— 



2d Pos. 

r- . 

L L0_ '_ I 



l,ii) i r^ i ' i i i i i ' i i r •] i , i . 

— ! ; — i " w — i — n i — \~9~i — i~iz — l — i — ~~* — i — H — r~\ - m — i — i ~t~ — ' — ij-2 - 2 " ~r~i — r j ~J "XL 

-Jz3 zjr &t- S 5^ Z ^fS^ «r -r 



4th Pos gr. barre. 



1st Pos. 



4tb Pos. 



l^PEH^. 



r 



#_J_ i 



j i*_ 



«MMHsaap*Ai 



|JL_L 



I I J I 



r 



i ~ 



T"1 



j * ^zdz4z]z^zjzzz4zi:-^z^-f-j^!-i- ' ! ' !- m ' 



r^r 



1st Pos. pet. barre. 



3d Pos. gr. barre. 



4th Pos. gr. barre. 



?«, j±zzzit* zjzrz in 9 "j zzc Ittittttt h Tn cnzn-i ttt j ~xtT"1 — hiT'd ttt J"*' X zi i 

XTJ -3-XJ , Jztzf-* ZZZZ 70 n - 1»; i >n-n^"l"i"Ji"i« Z # "i~ zf't #- n # ~ " # ~ r~ 

_zx?_ _ --^*- zzt: _zz _zi: jxz__j .bqpgxxxaLqic: z_*ztz[_sz zi .^^ _U 



-(©-, 






•-P- 



zi: 






^; 



a-«? 



04 



CARCASSI'S INSTRUCTIONS FOR THE GUITAR 



Gamut. 



Gamut in B Major. 

1st Pos. 



-#■ 



iS 



P 



-i© — •- 



> — ^ ^ 



Ton de Si Majeur. 



:= ^- 4 - 



*-» 



m 



Ml 



2d Pos. 1st Pos. 2d Pos. 



Cadence.) 



:*■ 



J 



F* 



*E| 



J 



sst 









Tf^ 



~?r? 3g r 



as 1_2^ 



^E 






*r 



1st Pos. 



Exercise. /fc^EziH 



W& 



t2=* 



K* 



#— ± 



j£± 



g i i j ^ ggf 



4th Pos. 

# 



£^ 



1st Pos 



* ^^ r £__ 



* 




-^'^t ^j- 






5^ 



zsrst 



-©»- 



s 



Ml 



tst -jsr 
i i 



2d Pos. 



8d Pos. 



1st Pos. 




1st Pos. 



2d Pos. 



1st Pos. 



-#=*: 



#=£ 



Mill 

J ! I i 



-*l»7* 



EeS 



r — r 



-g i j i i* ... i g 



3JE 



| brt 1 J l -p ^ =^= lT 




Carnal £!^* 



G Sharp Minor. 



Ton de Sol * Mincir. 



£j£ 



if^ 



-*-# 



r^ft 



-»— •- 



- ,#j>f 7pfpg 



£ 



5S 



P! 



4th Pos. 
gr. barre. 



1st Pos. 4th Pos. 



fc*=--r4A 



Cadence. fc!bz£JELJ 



4 gt iJ 



I 



-WS>- 



rs£ 



\&z 



\p~ 



^r 



1&~ 



.Id 



^ 



IF* 



UARCASSl'S INSTRUCTIONS FOR THE GUITAR. 



«5 



1st Pos. 



Riereise. jt %% &■ 



i 3*^ 



— — — pftf^~ 



t^^- 






ip* 



tA=- £— & 



-# 






3 ft=^i b Ml 



3 



4th Pos. 

petit barre. 




4th Pos. petit Barre. 



1st Pos. 



4th Pos. gr. barre. 







^S^E 



:s^g^^ ^^^Ff 5 7^ J ^T-FP 



f 



r r 



4th Pos. gr. Barre. 



5t 




<~4r 



m 



=3^ 



f=^ 



I 1^~ 



Key of F* Major. 

Serving also for that of Gh Major, with six flats. 

1st Pos. 



Ton d Fa # Majeur. 

| Servant aussi pour celui de Sol bemol majeur avec six Bemoli 



Gamut. fe=*Ezi3 






•s»- 



■IIEZai 



*-#- 



m 



Tf-0 



±±Bt 



*—*- 



m 



2d Pos. 



i#Ap* — *J 



M , J. 



4th Pos. 2d Pos. 
gr. Barre. 

J- 



Cadence. j^ fe f p^=tj=|4§y=|l^g^ ■ g 



T r r r ^ 



1st Pos. 






mmmmmmm& 



f 



Barre. 



-»- 



=*=* 






?i 



\;u 



OAKCASSI'S INSTRUCTIONS FOR THE qui tar. 



2d Pos. 
petit barre. 



Prelude. 



#r#; 







E^^^ 



?=££S 



4th Pos. 

gr : barre. 



#-*-•' 



<10 



3* 



:£ttot*-. 



IPPi 



?d Pos. petit barre 



1 Pas. 



-Mb 



53^53J33L-u21 l*__i5!LJ33 



gea^sssssera&SB 



-4#- 



*=* 



ES 



4#- 



=t« 



•?-d- 



1-4- 



-# — » I # 



-#-— j 1 !-•- 



T*- 



:3^c 



4- 



I 



4th Pos. gr: barre. 



6th Pos. 



"23 



* 4#- 



4«? 



m*. 



ttizs 



s. 



i 

0- 



4th Pos. 



U* 



J^ J 



I I 

2d Pos. petit barre. 4th Pos. gr: barre. 2d Pos. 



petit barre.**^gr: barre. 






Key of D# Minor. 



Ton De Re # Mineur. 



#-# 



— #— ?- 



Gamut. p: y c' 



-2^-^ 



-#•" 



-S*- 



5 






-o- 



»PW 



*=f£ 



"ST 



Ift 



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Cadence. fc*E=BB§ 



*=*= 



-2<S> 



-*<S»- 



i 



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_a^_ 






-2*2- 



-4(S?- 



:ns£ 



7S "7} 



^1 



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1st Pos. 



«p* 



Exercise, fe-^—ff-Q-^ 



H h 



"* •>" 



3=gg^=g 



*=*. 



^ip 



#— * 



*j — [- -j- -#- 



-*-#. 



3pr 



:&: 



^LJ^=^ ^g 



:^# 



-$.*- 



:£=¥ 



3 



-2^- 



4th Pos. 



T&— -l<0r 



-4 



«£ 



=11 



3d Pod. 

Prelude. S=9^^= 



1st Poa. 



3d Pos. 



2d Pos. 



-is* 



]XS_ 



*;d=*: 



*<S>t4^ 



-•-4-# 0- 



r 



-\-m — I — • — i — i — \-} hir— f-Ttri 



4th Pos petit barre. 



1st Pos. 



2d Pos. 



:#:*#=*: 



:s: 



_*^ 



1 r^^"" 



-<S>- 



i'S 1 - 



-• 2 #- 



*&- 



-#0 3 » - +?^h 



=:q=^=fzi=?3=|=J:i^=W=f^=^^^q 



ill 



s: 




1st Pos. gr: barre. 



:#- 



z^zatzi: 



■4—4 



4SS* 



^=3t=i: 



4th Pos. gr: barre. 



1st Pos. 4th Pos. 



S^L 



EB3 



=fc 



-!S»- 



^pT 



^=t 



-s? 



i-fczafc 



:*=* 



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i i 



-&*- 



- & 1 



H 



CAROASSI'S INSTRUCTIONS FOR THE GUITAR. 



«7 



Key of Bb Major. 

let Pot. 



«> ana ill. fab—Qr 



s 



-&- 



£ 



, 1 2 _£2 - 1st Tot 



Ton de Si b JHajenr. 

Tos. 



^-^- 



it 



^-D 



: 5 r ^~*" 



•H^t 



Cadence, fe j^zfe 



-b je 



let Pos. gr: barre*. 

I 



<5>- 



^>- 



fefc 



T^ 



*!©- 






~gp~ 



3^= 
I222ZZ 






I 



*p- 



Tp" 



1st Pos. 



Eieicisc. jt-b- 



^^P^^^^^^^fe^^^ 









<^- 



-f— ^ 



SI 



3 



r 



1st Pos. 



^•"■•"P 



PrcUde. Jtb 



!55EHSESJf 



3d Pos. gr: bar re. 



let Pos. 



ii 



-1-^—1 



-S*r2 



r 



tot 



fc 



-*-#- 






-&> 



s 



i 






±-H— 



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— y « — st^=* — T 

i — -J • ^-J • 



•fei 



m 



**©'-• -)©-■ 



Sd Pos gr: barre 

:rfe 



ts^ 



giisj 



z$±j£ 



±G> 



T0-& 9 



K 



1st Pos. I 



^s?-^-* 



H*» 



i I 



JI5? 






■■"■Tn -*- 



c r 



=j ***g [ .=j-g=| q i b f i ... II 



3d Pos 



Key of G Minor. 



I I 

6th Pos. gr: barre. 

Ton De Sol linear. 



Usunut. /^b--(±: 



W& 



&%*■ 



-&- 



W-9 



'apfr-Tp+Hsrs 



3 



-®- 



m 



m\ 



# v ^ 



3d Pos. g> : barre. 

_l4_ 



2d Pos. 



3d Pos. 



i<3>- 



Cadence. fczfzzz±^ 






i 



-Id 



i 



i &$&- 



\% gj gjg: 



-*(*•■? 



— *js- 



"3» O^ 



.!< 






I 



I 



1st Pos. 



—b. 



Kxereise. j&k--^ 






#z^: 



^^-g^^m^^^^^^ 



gr: barre I J 



ij^ll 



^ "f 



HX 



CARCASSI'S INSTRUCTIONS FOR THE 'JUITAR. 



3d Po*. petit Barre. 

' ' ' I I I 



Prelude. jfeb- 



at. Bo ire. 1st Pe* 

p rr — ' - 



i I f i i i ^ m ^ I i ii i j ^^^^ | I ' i i I 'i I , i i i p . ' 'i I I i 
z <* I*-* <j< #— *-* *-h » | * — — F# — •— F*-2^ — 'l^^O - 4 # — h^ « • 

R-a- p., f . J Jfe ggg — *? — J — +j^ « T-- fl ~r*- # - ' 



UPn. 



2d Po». 



lit Pos. 



3d Pos 



1st Pos. 



:zfc 



■t ^^^^^ 



b*Mf=*=ȣ 



r 






a 



*t 



t P* 



r=3 



± 



- 1 i i 1 i^ - 1 r— \ 



■■ 0. • 



fe^x 



^^rr Barre. *S>; 



T* 



^y 



-^ 



1 



f^-f 



w 



Key of Eh Major, 



Ton de Mi b Maicur. 



3 1 .3d Poi. 



3d Poi. 



Gamut, fe±£: 



* =?=r 



TtPL 



f mmaM £& 



+—+ 



+z=d 



m 



3d Poi. 4th Pos. 3d Pot, 1st Pos. 3d Pos. 



Cadence. ESEliEEE^tl 



J- 



I 



£*S=t 



:3s: 



32± 



=£ 



-4©- 



:M 



is: 
-is 1 



T^ Tp" 



fcS>- 



^i 



■P- 

gr. Barre 



lft Pot. 



Exercise. /£5-ft-G : 



5 






fff?^ 



^ott 



£ 



-»— «- 



£=* 



s 



s 



«: 



i 



^f 



±^=f 



#~^ 



^ -0- -w- -0- 



-i-L-0- 



3d Pos. 



Prelude. jJj &r k-fr^F- 



-*r 



*s 



5 f^-^ ^ s^f ^i 

— f#— - # ■*-*-* * *-^-* 1 • 



3d Poi. 




.it Po«. gr. BarrA 



petit Barre 




Key of C Minor. 



Ton D'ut Mineur. 



(tanrat. /My^EE 



■o- 



Bjpgs|i|| ^|g]l§||§ 

^ — # n 1— i — 



v0- 1 

•f — m- 



?=<+ 



lE*£hi 



fciS 



"*" * 



m 



OARCASSI'S INSTRUCTIONS FOR THE GUITAR. 



ttJJ 



Id Poa. lat Poa. 3d Poa 



Cadence. fefcizzfg 






r 



j- 



jls: 



-*s a-- 



SMS 






:Jgt 



i 



I 



*S 



lit Pos. 



Exercise. 



^•g g>- E^mg ^ife^^ ^ ^^ 



J * J -at — 



: i b: 



^ ' 'JJ J l 



J- 



^^^gi^^ ^ ^^ ^^ ^g^^B 



r r 



3d Poa. 



Prel»-le. gSaSS 






•fe *<H*wHr 



^^ 



lit Poa. petit Barre. 



?3*f@ 



3d Pm. 



±±afc^t 



^™1" 



■»■* 

^■^ 



<HH- 



iSdS^a 



T 



t±«= 



r 



r r 2t f f / 



r 



lat Poa. petit Barre. 3d Pos . 






r r r 



1 1 



^ 



Key of Ab Major. 

1st Poa, 



Ton de lab Najcur. 



Gamut. j?K£S 



iP-fa^p- » « 



£ 



^ 



W^^ 



*-+ 



id-*- 



3=0e 



=P-aV 



-#-3t 



*-# 



f? 



Cadence, fekb 



^El 



4 th Pos. 



as: 



1st Pos. 4th Pos. 



-*<s»- 



■*<©- 



.liss: 



^E 



*<s>- 



gr. barr6. 



lat Poa 



Exercise. /fcf^zH 




^i^ 



fob 



£ 



1^3: 



HSHIUS 




3 ^r 



*o 



CARCASSI'S INSTRUCTIONS FOR THE GUITAR 

4th Pos. pet: barre". 6th. Pos. gr: barre. 4th. Pos. 

F-— — r— -^'n 

# ' i i 1 ■ , r^— 1 ^—hp-i 



r~*^ «"nn it 1 ' " r [ r~2 • < i ■ , n^-«f^- p " 1 — ■— —■ «— 3( Pos - g": 



1st. Pos. 



i^zS 



::^= 




4th. Pos. i n 1 1 I i ■ ■ ! mmmmmam 

^\ I «— pet: barre. '» JmJ^J 6th. Pos. 



J 
4th. Pot. 



,-#-3— #— — ,-_ ,- r - p— ! - 0-*-0~ -J-sW-j ~W~T — 

■ — rg— — — —\~ m ~T # ~~ t»~2~ — 



8 1 

Key of F Minor. 



— 1^ 









=5 



1 



Ton De Fa 91 incur. 



Gamut. 



1st. Pos. 



fclfcz 



-i-l=3-i 



P^fS** 5 



^5EE!Ef£*EE5IEEEEEE 



~T 

#-s 



F& 



»=s 



^-w^ 1 



^:^ 



n 




a 



^ 



lBt. POS. 



Cadence. fej^ffzizTilr 



_1jS! 



-*-<s^ 



fej T— *-<^r 



"SiSs: 



ig^=|=q^====ga- j _ 



a:^: 



i F »^ 



a^- 



r 



i 



f 1st. Pos. 
IzfezgEzjzI^E^' 
1 . PTS 




^-j 



E^zz^B 



ZIZZZZZSZZ — ZZ 

— i 1 1 1 1^*1 



W 



n — n — r"*,^i — i— n— *— -i ^~\ ~zi — r 

w — s — i — i — ~ — i — i — i — i 1 — zzzn us - 

— ^-»-srn^-ji-n : - : a-- jr.ttr+0- 



:s: ^ 






"^ 



n r 



-<5»rr-^ r 



zizzs?zn§>: 



f- 



II 



petit barre. 



ifttzEzz 
Prelude, fe^-fej^ 



33ZI 






petit barre. 

' .— m— i 

! I N 

rzzzx=zcszz 



_ I I — C3E 1 1 

Tri Z^~X I~1ZS' 

5 ^ — i 5 1 — x 



rr 



■%^7 






E 7 ^ 



p 



2&» 



4th. Poi. gr: barre. 

I I ' P" I 



1st. Pos. 



. i I i_ i_j J I J_ l""" L I I 

) — ^ = 



IZZH i w z T — ' S^i 1— 

±Z — ^I_~» 1 1 3ZI ZZ 

1 T^ ~ 



T 



3E!? 



i 



•n— r 



f 



H-W t— ■'— -j — f ' , i i. 



f 



Key of Db Major. 

Swring also for that of C# Major, with seven sharp. 



Ton De Reb Majeur. 

Servant aussi pour celui d'Ut # majeur avec sept dieses. 



:?-&: 



Bmil.S^Be-r-^T-ffi-3 ~* : 



-t mmMBM^Mwm mm: 



I 



4th Pos. 



:^;e 



4<5i- 1 



Al. Pos. 



Cadence. |&zg^ES£EEE|^-iE?p 

V 2 !«- -p — -F 



1st. Pot 



Q-&, 



4th. Poi. 

-4-d 4^x 



~2~&L 



1-& 






llfl 



OARCASSI'S INSTRUCTIONS FOR THE GUITAR. 



1st. Pos. ^-^^ 

—i : 1^^ —< — i r 



ifc-fczEzzi zzzzzz^^zz^zzczrcizazriirz jz~ _ 



s=* 



33zHz - 



— *~# — :jzzz: 






SZ9 



7! 

3z-Z^zl 



2:e=*^ 



r-ta 



gztiZEZ^=SJz=rzpg^t 




III ill. 



1st. Pos. gr: barre. 



I 1 I 14 I 

— —#- T [— !-• j5f 



3d. Pos. 



Si- 



rffl. 



lst. Pos. 



,T^n rm 



gr : barre. 



3 "P~ 



*,^ 



5 ^ 



pet : barre. 

*-l 

ZZSZIZZZZIZ-" 

#3 9 



Pos. 



W 

r " 



I 
gr : barre 



Key of Bb Minor. 



Ton de sib 91 incur. 



3d. Pos. 



Gamut. , 



1st Pos. 



~S' 



- j: » 






_4 JfcFJ^Jbl i 



t — i — rz~iT-^ — »— rir 



~r: 






-i — r 



:n— q= 



"~T 



— ^^ 



r±^===f^' 



1st. Po«. gr: barre 



Cadence. Ghk-b-r-O — s-esf^— zjE^z 



arre 

2^ -r—i-J 1-4= r— +-J 

i _i=.I_s_ ( gri a__ e?ZZZL_§^__Z 



z^Ezzzim^iszzzz 



£3 

II 



! f 



-fl-<S>- 



Hi 



1"S" 



1-^- 



.trc- 

Biereisc.^fe- bzc^ 



1st. Pos. 




- p - -# 



~j^""^l "1 i — 9 — r* _ IZi ZZ — ^^"P*»«8ii^- . 

TTTn — a 9 — • — r — i — -f-p — • — r~r iHZ 1 i^T~ I 

*z^^=z£&^^ESErE5r^E5zizfiz3-1 






-i^s«--r^3-3 : &-a-j 



3 — p"-*»^-t _^£g:gL-J | 
■zzszrszznzzz ZL n ZZ_SZLS? _zz 11 






gr: barre. 

Prelude, ^|^-Z£:zi q_,_ a zq^zn_^iq „ — CT # q_ # Jzrzi ?_szq. -zz^prpin _ *zq_ ^zZ;fZq-,- a z^:zz i 
sfzzz^zz »z 4 __izn #zq~»inzzzz~znzi^ziiZ-a— zzzzz*zzz*!iz3Zi M azzzqz#zzi»Ln_f^_zzq:#zi_*J 



3d. Pos. 



T»- 






izzzzq: 



- 9 - r 



n J f 2 =z 



ZX T# 

i i 



-#- -#■ 






gr: barre. «i^^ gr: barre. .--.-. 

^4^q-|Q3j -q:Szqigj-q^zq^zqz gz^ :g=}^4J z 
qzfz^: zzqzfzn i? h-. » _zzzzq:z— z_i ff zs _^zl^_ FSzlizzqziizzjizi: 
7 : i 5 : i -T :zc zi 3 zt • "* "*" "* 

9 WW . Z. r _zt ^ ^f J" | I 

2d. Pos 1 | fe.# 1st. Pos. "»■ "#■ -f- -,*- ~f- 1 



19 



72 



UAROASSI'S INSTRUCTIONS FOR TEA GUITAR 



Harmonics. 

Harmonics are produced by placing a finger of the left hand 
scross all the strings of the Guitar at certa'n divisions of the 
finger board. 

The finger must press lightly, yet with sufficient force to 
prevent the string from vibrating as if open. As soon as the 
string has been struck with sufficient force near to the bridge, 
the finger must be taken off. 

Harmonics sound an octave higher than what they are 
marked. They are produced at the 12th, 7th, 5th, 4th and 3d 
fret, as the following table shows. 



Sons Ilarmoniqaes. 

On produit les sons harmoniqnes en pos&nt un doigt e I* 
main gauche sur toutes les cordes de la Guitare a de ce: »ine* 
divisions settlement. II faut que le doigt pose legerement man 
avec assez de force pour empecher a corde de resonner a vide, 
et on leve ce doigt aussitot apses avoir pince la corde un peu 
fort pres du Chevalet. 

Les sons harmoniques rendent une octave au dessus ce ce 
qu'ils sont marques. lis se font a la 12me, 7me, 5me. 4me ti 
3me touche comme le demontre le tableau suivant. 



12th Fret, 
12me Touche. 



7th Fret. 

7 me Touche. 

^5L 



5th Fret. 
6me Touche. 

-as- 



£L 



4th Fret. 
4me Touche. 



3d Fret. 
Sine Touche. 



Irt String. 
Ire Corde. 



2J String. 
Se Corde. 



•J String. 
8e Corde. 



4th String. 
4e Corde. 



Bth String 
Be Corde. 



6th String. 
Se Corde. 



1 



#&- 



-&- 



#P- 



fe 



=£ 



*S^ 



^ 



3t 



1 



-%&- 



-&- 



-&- 



=r 



-&- 



-*^>- 



-&- 



Exercise in Harmonics* 

The upper figures point out the frets, and the lower ones the 
■trings. 



Allegretto. 



Excrcice en sons Harmoniqnes. 

Les chiffres superieurs indiquent les touches et .es ct jdfiril 
inferieurs les cordes. 




12 7 12 5 - 


" JL. 7 

i-*— 1 


7 

— | 


5 


5 


4 5 - - 

1 P 


3 5 


4 5 4 

• •— 1 




5 - - 3 4 5 4 

P 1 *-H 


3 5 


jr=s t -H-\ 


1 1 




=t=-- !!---- 


*f-~- 


L ~¥?=\ 


—r^- 




— w-r^F^r-. 


i 

i 


" 2 3 3 4 


3 2 3 


2 


3 


4 


5 5 3 


i 

5 4 


r 

4 5 4 




3 5 6 5 4-- 


^- r - 1 




5535 1454 3655 



3213 2334 



'< 4 2 » 



CARCASSI'S INSTRUCTIONS FOR THE GUITAR. 

- -7 12 712 5- - - m - 7 - -5 Fiae. 7 12 - 




All the notes within the compass of the Guitar may be 
played harmonically. 

To do this the note which is to be played harmonically is 
fingered in the same manner as an ordinary note ; then the 
point of the forefinger of the right hand is placed at the 12th 
fret distant from the note which before has been fingered by the 
left hand, the thumb is then removed from the forefinger, which 
presses lightly on the string, and strikes this string which will 
produce a harmonic sound. 



On peut aussi executer en sons harmoniques toutes les notei 
du Diapason de la Guitare. 

Pour y parvenir. on doigte avec la main gauche lanotequ'on 
veut rendre harmcnique, comme si l'on devait executer une 
note ordinaire, puis l'on pose le bout de l'index de la main 
droite a la 12me touche correspondante de la note doigtee 
par la main gauche, en ecartant le pouce de l'index qui pose 
legerement sur la corde, on pincera cette corde qui resonnera 
harmoniquement. 



7 12 



12 7 




6th String. 5th 
6e Corde. 



Position of the left hand. 



=f 



w 



il 



Place where the 1st finger of 
the right hand must successive- j 
It be played. 



g= T— £ 



4=^ 



Position de la main gauche. 



Place ou doit poser succee- 
sivement l'index de la main 



12th Fret 15th. 
12e Touche. 



14th. 



12th. 



13th. 



12th. droite. 



Rondo to exercise all the Positions. 



Moderato. 



Rondeau poor exercer tontes les Positions. 

5th div. 

5me case. 






7th div. !«t div. 

7me case. Ire case. 



Si- 
Thumb. 
Pouce. 



H-4=£=y 



TTyJjVJ^rTTn .-_ ___ _ _ 

— f — zrir. +b# -»— • - J*— •— L *— •— -4 — #+-4-»- i # — 3-0-?^z±- . 



r^^ rTw ^ f 



Sd div. 



7 1 



CARCASSI'S INSTRUCTIONS FOR THE GUITaR. 







i — i — i — 1 — 



:sn 






-0- 
-0- 

V" 



tz p : 






— 








'-^=1 



"f" 

3 



"3 






~i i 

3d (iiv. 
8 me case- 



M 



l 

0_ 



F=}==q rrrp! h-^ -TJ J • 

i. * - ^ a — 1-. — 




'"*— J r H T >-rTrFTTT 



&' 



:«t 



T" 



r 



— i 
w_ 



s^— ij 



— r 

9 



:« 



--J— -I— 4 



1~~ w~z3 — j~x~~i ~ i — i — i — < — 2 — J" i~i — ~ ~ir m ~~^ 



3 



r^f-+ 



t^= 












■■!■ 

5- 



3d div. 
3me case. 



/-7 



7th div. 
7me case, 






"H" 



— i" 

is: 



T 



■J 



:=3=Eiq— 
__ >zni_j — 



^__^_rq___ — _ 4 



" m 3d div. 
« 3me case. 

J ~ r —j 

.-; — i— — l- iw 

\r— f— -— sng— ~\ 




4 



— *--3 -.-—i i 9 — s — "Z_ r -"• r r r — r 



i i 







i 



i L i • J-XI5I_2S 

s 1 — jm — I 1 ~W W & [^ 

; : =P==r- :£ h-= I F== n= = :=: -F 












CARCASSI'S INSTRUCTIONS FOR THE GUITAR. 



75 







-ir 



j=J— J— FJ=J=rj!^ 



ral lem Undo. 



^:_SZZjzzjzzi zh zjzzjzzjzt •Lzrgzz'zzi zsrzzzzzzz^^zzt 

- — „ZiZi — m '\ — »n — r i — T*~l — i:rzzz~ZZI — 

/• riii ■ i i — I i i r i zz 



-*Tfe 



3 



f ~f .7— =: 



1 ' 1 ' 1^ I j . 1 1 I _£■ 1 1 1 . fj «—i *-«i 

E *" -fcULr c r -£r ^fjLlrh-j--^ ^ E* z=TE^ 



z#znzzjz?z 



5th div. 
5me case. 



rm ^rm 4- J Jg B 



4th div. 
4me case. 



5th div, 
5me case. 






izz-zz? 

-•- -#- -f - 

I * 



T' 



-F- 



pi^lzizj-nzq-szjzrzcazzzzzzzzz 

EEEEzEiS*EEzrz-=EEE= 



:»zz» 



P 



■P 






J I I T 

* wr—m — J»~ g — w r ~ w 



:3 



: F zzzz*f: 



i 3 — n 



±£jn + j j-j-j-j _nrT"l f 

J5. .-pTL^-fz^z^zz^zzpgpz^ 

5/2 



•1 l»» 

I* 

9th div. 

9me case • • ■ 

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To exjcute the following pieces, the Guitar must be tuned i Pour executer les trois morceaux suivan.s, il lau; accoM^ ll 
lis E Major. I Guitare en Mi Majeur. 



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Explanation of the Signs. 

«N ORDER TO EXECUTE THE TWO FOLLOWING PIECES. 

Friser. — Indicates that the fingers of the right hand are to 
fee kept closed, with the exception of the thumb ; and opened 
one after another, letting them pass over all the strings without 
any movement of the arm. 

Pouce. — The thumb of the right hand must be passed 
ightly over all the strings. 

Xndex. — Pass the index finger of the right hand, very 
lightly, from the highest to the lowest string, quite close to 
he rosette. 

Vibration. — Let the fingers of the left hand fall, in hammer 
fashion, upon the notes so designated, with force enough to set 
the strings vibrating, without (pinching or) snapping them. 

Tambour. — Strike with the thumb of the right hand upon 
ah the strings, near the bridge, with force enough, but without 
tordness. 



Explication des Signes. 

POUR EXECUTER LES DEUX MORCEAUX SUIVANTS. 

Friser. — Indique qu'il faut tenir les doigts de la main 
droite fermes a 1 'exception du Pouce : et les ouvrir les una 
apres les autres en les faisant passer sur toutes les Cordee, sanf 
faire de mouvement avec le bras. 

Pouce. — II faut passer le Pouce de la main droite Jegeremen. 
sur toutes les cordes. 

Index. — On passe l'Index de la main droite, tres legerement 
depuis la chanterelle jusqu'a la derniere corde, bien pres de la 
Rosette. 

Vibration. — II faut laisser tomber les doigts de la main 
gauche, en forme de marteau, sur les notes indiquees ; avec 
assez de force, pour mettre les cordes en vibration sans les 
avoir pincees. 

Tambour. — On doit frapper le Pouce de la main droite, et 
en longueur sur toutes les cordes pres du che valet avec assea 
de force, mais sans roideur. 



Ponce. 



No. 49. ,..,,..... 
Waltz. sfc=£ 




Vibr. Tambour. 




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CARCAfeSI'S INSTRUCTIONS FOR THE GUITAR. 



Ill 



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112 



CARCASSI'S INSTRUCTIONS FOR fHE tiUITAlv 



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A TEAR SHALL TELL HIM ALL. 



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1. At moonlight, near the broken cross, Young Ebert fond - - ly, fondly swore 






To love but me, and on - ly 






S 



Slow. ^_^ 



me, Till life, till life should beat no more. To note that vow on heaven's high name So fervent - ly 



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call, That ere my fait' - ring voice replied A tear, a tear had told him all : That ere my fait' - - ring voice re 

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SfeEESESJi 3 =^ E n E ^=fe*^:= SE :|^§3^ 



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Slow. 



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plied A tear, a tear had told him all, 



i '^- r f f ? 



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Though heedless of his vow he prove, 

His falsehood I'll not harshly blame ; 
And should he wander back to me 

I will not ask him whence he came. 
No angry frown shall cloud my brow, 

No murmur from my lips shall fall; 
But ere this heart in silence break 

A tear, a tear shall tell him all 



114 



Voice. 



Guitar. 



MARY OF ARGYLE 



ARRANGED BY A hCHMlTZ 



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1. I have heard the ma-vis singing 

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His love-song to the morn : I have seen the dew-drop clinging 



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rose just newiy horn: But a sweeter song hascheer'd me, At the ev'ning's gentle close; And I've seen an eye still brighter Than the 

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A Tempo 



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dew-drop on the rose ; 'Twas thy voice, my gen - tie Ma-ry, And thine art-less winning smile, 



That 



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made tnis world an E-den, Bonny Ma- ry of Ar-gyle. 



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»ICOND VERSE 



Though thy voice may lose its sweetness, 
And thine eye its brightness too ; 

Though thy step may lack its fleetness, 
And thy hair its sunny hue: 

Still to me wilt thou be dearer 
Than all the world shall own ; 



I have loved thee for thy beauty, 

But not for that alone : 
I have watched thy heart, dear Mary, 

And its goodness was the wile 
That has made thee mine forever, 

Bonny Mary of Argyle. 



115 



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SPEAK GENTLY. 



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3. Speak gen - tlv to the lit - tit 

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bind ; And gen - tly friendship's accents flow, Af - - - fee tion's voice is kind. 

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Speak gently to the aged one, 
Grieve not the careworn heart; 

The sands of life are nearly run— 
Let such in peace depart 

6 
Speak gently — kindly to the poor, 

Let no harsh tone be heard ; 
They have enough they must endure 

Without an unkind word. 



Speak gently to the erring — know 
They may have toiled in vain ; 

Perhaps unkind ness made them so. 
Oh ! win them back again 

8 
Speak gently! — He who gave his life 

To bend man's stubborn will. 
When elements were in fierce strife, 

Said to them, u Peace be still " 



Speak gently ! — 'tis a little thing 
Dropped in the heart's deep well : 

The good, the joy which it may bring, 
tf-tcruitv shall tell. 



116 



Oil, AVOULD I WERE A BOY AGAIN. 



Inriautino 



GUITAR. 



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gain, When life seem'd form'd of sunny years, And all the heart then knew of pain, Was wept a -way in transient 



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Tis vain to mourn that years have shown 

How false these fairy visions were, 
Or murmur that mine eyes have known 

The burden of a fleeting tear 
But still the heart will fondly cling 

To hopes no longer priz'd as truth* 
And mem'ry still delights to bring 

The happy visions of my youth. 
C) would I wore a boy again, 

When life seem'd form'd of sunny years. 



117 



QUEEN OF MY SOUL. 



\RKANGED BY V. tT E I L A N l» 



dlJlTAR. 



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dueen of my soul ! whose star-like eyes, Are all. the light I seek ; 



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Q,ueen of my soul ! 



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Wilh l>. line. 



2. The Mountain of thy native shore, Are cold and dim and gray, Ah! lin-ger 'midst their clouds no more, Thy home is far a - way, Thy 

3. The per-fum'd rose for thee is twin'd, The lute awakes its strain ; Then shall the with'ring northern wind Steal all thy sweets in vain ; Steal 

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tome is far a -way! Where Italy's blue waters roll, Queen of my soul ! Mary ! Mary ! Queen of my soul! Mary! Mary! Queen of my soul! 
»\1 thy sweets in vain, No ! fly beyond thy fate's control ! Queen of my soul! Marv! Mary ! Queen of my soul ! Mary ! MaTy ' Queen o f mv soul ' 



118 



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MOUNTAIN MAID'S INVITATION. 



ARRANGED BY J. E OOOT.H 




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Come ! come ! come ! O'er the hills, free from care, 

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2 

Come ! come ! come ! 
Not a sigh, not a tear, 
E'er is found in sadness here, 
Music soft, breathing near, 

Charms away each care ! 
Birds, in joyous hours, among 
Hill and dell, with grateful song, 
Dearest strains here prolong, 

Vocal all the air ! 

Tra la la la, tra la la, 

Tra la la la, tra la la, 
Dearest strains here prolong, 

V^cal all the air ! 



T 



Come ! come ! come ! 
When the day's gently gone, 
Evening shadows coming on, 
Then, by love, kindly won, 

Truest bliss be thine ! 
Ne'er was found a bliss so pure 
Never joys so long endure ; 
Who would not love secure ? 

Who would joys decline ? 

Tra la la la, tra la la, 

Tra la la la, tra la la, 
Who would not love secure ? 

Who would joys decline ? 



eoicE 



1UITAR. 



THE WATCHER. 



ARRANGED HIT F. WKl^AND 



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1. The night was dark and fearful, The blast swept wailing by, A watcher pale and tearful, Look'd forth with anxious eye, How 



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death a- lone can free him, She feels that this must be, But oh ! for morn to see him Smile once a-gain on me. And 

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wist-ful-ly she gaz-eth, No gleam of morn is there, Her eyes to heav'n she raiseth, In a -go-ny of pray'r. How 

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death alone can free 



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him, She feels that this must be, But oh ! for morn to see him Smile once again on me. 

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wist-ful-ly she gaz 



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A hundred lights are glancing 

In yonder mansion fair, 
And merry feet are dancing; 

They heed not morning there. 
young and joyous creatures, 

One lamp from out your store 
Would give that poor boy's features 

To his mother's srazo once mor<» 



The morning sun is shining ; 

She heedeth not its ray: 
Beside her dead reclining, 

The pale dead mother lay. 
A smile her lips were wreathing, 

A smile of hope and love, 
As tho' she still were breathing 

There's light for us above 



i-iO 



CHARITY. 



ABBANGED BY LEOPOLD ttYXQVtA 



Moderate 
Guitar. 



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1. Meek and low-ly, pure and ho - ly, Chief a-mong the "blessed three," Turning sadness in -to gladness, Heav'n bora 

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art thou, Char-i - ty ! 

„ u. Rail. 



Pi - ty dwelleth in thy bosom, Kindness reigneth o'er thy heart, 

i -— ■""■i ii i'^i r I -*i ij 



— f-#-i 
Gentle 



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Rilard. 

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thoughts alone can sway thee, Judgment hath in thee no part. Meek and low-ly, 



pure and ho - ly, 



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mons the " blessed three," Turning sadness in - to gladness, Heav'n-born art thou, Cha-ri - ty ! 

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SBC OND TI1SE. 



Hoping ever — failing never — 
Though deceived, believing still ; 

Long abiding, all confiding, 
To thy heavenly Father's will ■ 



Never weary of well doing, 
Never fearful of the end ; 

Claiming all mankind as brothers, 
Thou dost all alike befriend, 
Meek and lowly, &c 



■ 21 



LOVE NOT. 



ARRANGED BY B WHUKU 



Andar.tino 
jii espressione. 



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not ! Ye hapless sons of clay, 



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gayest 



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Ere thev have blossom'd for a few short 



they have blossom'd 



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lade and fall a - way, Ere they have blossom'd for a few short 

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Love not ! Love not ! 






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2 3 

Love not ! love not ! the thing you love may die, Love not! love not! the thing you love may change 

May perish from the gay and gladsome earth, The rosy lip may ceace to smile on you, 

The silent stars, the blue and smiling sky, The kindly beaming eye grow cold and stiange, 

Beams on its grave, as once upon its birth.— Love not ! The heart still warmly beat, yet not be true. — Love not 

4 
Love not! love not! Oh warning vainly said 

In present hours, as in years gone by: 
Love flings a hallo round the dear one's head, 

Faultless, immortal, till they change or die.— Love not' 



isa 



Andanl 3 

Affet ioso. 



THE WIDOW OF NAIN. 



ARRANGED BY A BCHMITl 



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1. Wake not, oh mo - ther, 



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sounds of la - men-ta - tion, 



Weep 



not, oh wi - dow, 



weep not help - less - ly. . . . 



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the bring - er of 



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SECOND TERSE. 



THIRD VERSE. 



Bring forth the cold corpse, slowly slowly bear him, 
Hide his pale features with the sable pall ; 

Chide not the sad one wildly weeping near him, 
Wi lowed and childless, she has lost her all. 



Why pause the mourners ? who forbids cur weeping, 
Who the dark pomp of sorrow has delayed ? 

« Set down the bier, he is not dead, but sleeping ; 
Young man arise," He spake and was obeyed. 



FOURTH VERSE. 

Change then, oh sad one ! grief to exultation. 
Worship and fall before Messiah's knee ; 

Strong was his arm, the bringer of salvation, 
Strong was the word of God to succour thee. 



123 



LILLY DALE. 



ANDANTE 
STMPL1CE. 



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"I go,** she said, 

« To the land of rest," 

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'Neath the chestnut tree ; 

Where the wild flowers grow. 

And the stream ripples forth thro' the tale. 

Where the birds shall warble 

Their songs in spring, 

There lay poor Lilly Dale- 



WITH FADED FLOWERS THY LYRE WE'LL WREATHE. 



Afocleralo l»wii. 



AKRAXGED BY A. SCHM.TZ. 



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8 E C O ND VERSE. 



The sculptur'd uvn that decks the gravi, 
Where sleeps the mighty one ; 

The brazeii records of the brave 
Time breathes on, and they're gone. 



Thy grave will be a holy spot, 
Where years have passed away \ 

Thou art not one to be forgot: 
Thou art not for decay ; 



*J 




Boston Public Library 
Central Library, Copley Square 

Division of 
Reference and Research Services 

Music Department 



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